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UNIVERSITY  OF  CALIFORNIA 
AT  LOS  ANGELES 


V 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

Microsoft  Corporation 


http://www.archive.org/details/emmadunningbanksOObank 


EMMA  DUNNING  BANKS'S 


ORIGINAL  RECITATIONS 


WITH 


LESSON-TALKS 


a 

V5 


)£nlarflcfc  j£Mtton 


EDGAR    S.    WERNER    &    COMPANY 

NEW    YORK 


'  lOAH    S.    W] 


1.4 


i;    < 


PREFACE. 


'  I  lHE  demand  for  something  new  and  for  something  especially  adapted 
*  to  the  needs  of  the  recitationist  is  the  raison  d'etre  for  many  of 
the  selections  to  be  found  between  the  covers  of  this  book.  The  rare 
delight  experienced  when  reading  some  gem  of  fertile  fancy,  some  choice 
bit  of  imagery  embodied  in  verse,  is,  if  the  one  partaking  of  the  enjoy- 
ment be  a  public  reader,  only  equalled  by  the  keen  regret  with  which 
he  or  she  acknowledges  that  in  most  public  work  such  exquisite  things 
do  not  respond  to  the  general  need.  They  are  like  choice  bric-a-brac, 
too  dainty  and  fragile  for  anything  but  the  closest  study  and  inspection 
and  tlit-  most  careful  touch;  demanding  eyes  educated  to  their  beauties 
and  quick  to  discern  them,  and  hands  accustomed  to  such  handling. 

Head  these  choice  gems  in  the  drawing-room  to  the  appreciative  few, 
and  the  enjoyment  will  be  mutual  and  yourreward  obtained;  but  given 
the  difficult  ies  of  added  space  ;ind  of  a  large  audience  who  cannot  in  the 
brief  interval  allowed  for  a  reading,  appreciate  beauties  they  have  not 
been  accustomed  to  study,  and  the  pearls  are  too  often  felt  to  be  thrown 

away. 

In    my  double  work    <>f   teacher   and    recitationist.   I    have   carefully 

noted  the  points  embodied  in  the  mosl  popular  select  ions;  and  in  writ- 
ing recitations  for  public  work,  I  have  endeavored  to  make  1196  Of  the 
knowledge thue  gained.    That  some  measure  of  success  has  attended 

my  efforts  is  proven  by  the  fad  that  the  selections  have  become  popu- 
lar, regardless   of   their   faults,  of  which    I    am  only  too  COOSCiOUS;   and, 

therefore,  these  selections  are  offered  not  as  poems,  but  simply  as  "  reci- 
tal ion-  in  rhj  me." 

Later  I  hope  to  offer  some  practical  talks  on  working  topics  for  the 


iv  PREFACE. 

elocutionist.  I  cannot  refrain  from  one  brief  hint  here  and  now.  It 
is  this:  Were  1  allowed  l>ut  one  rule  to  use  in  teaching,  one  bit  of  ad- 
\  ice  to  offer  my  pupils,  one  "elocutionary  lling"  in  the  field,  and  wer« 
1  limited  to  the  fewest  words  possible  in  my  rule,  in  my  advice  and  in 
my  "  elocutionary  fling,'1  those  words  could  be  limited  to  four,  and  would 
read  thus: 

"FLAT  ABDOMEN,   HIGH   CHEST." 

1  should  insist  on  having  them  capitalized,  and  should  place  them  in 
that  order,  because  I  should  want  the  chest  made  high  by  the  use  of 
the  abdominal  muscles;  as  the  abdomen  recedes  and  becomes  flat,  the 
chest  should  become  correspondingly  elevated. 

I  shall  stop  with  just  this  hint,  because  if  I  were  to  keep  on  I  could 
talk  a  whole  volume,  and  that  is  not  my  purpose  in  the  present  edition 
of  my  "  recitations  in  rhyme." 

EMMA  DUNNING  BANKS. 


CONTENTS. 


PAGE 

Abou  Ben  Adhem 136 

Aline's  Love  Song.     130 

Annt  Rhody's  Dream 134 

Basting  Thread,  A 124 

Battle  Cry 59 

Bridget's  Mi -'-ion  .Ju>; ?ii 

Country  Dancing.... (iT 

Diamond  <  'ut  Diamond 20 

Dot's  Christmas;  or,  The  Sober  Hat 120 

Blf-Cbild,  The 100 

Km  ma  Dunning  Banks's  Medley 11 

Flibbertygibbet  and  Me 14!) 

Flossie  Lane's  Marriage 84 

Flying  Jim's  Las!  Leap 47 

For  tin-  Slumber  Islands.  Ho! 156 

Funny  Story.  The 54 

Grandma  Robbins's  Temperance  Mission 86 

Her  Name an 

His  Mother's  Cooking 10 

J  low  ( longress  Foughl  lor  Sheridan 55 

.lark's  Valentine 1 64 

Kittens  and  Babies        42 

Laureame    The  Marble  Dream r>o 

Legend  of  Rose  Sunday,  A Ill 

1        m  of  Obedience,  The 108 

Little  Hoy  Blue in; 

Man-  Story,  A        7y 


vi  CONTENTS. 

PAOK 

Mein  Katrine's  Brudder  Hans 43 

Memorial  Day  at  the  Farm 146 

Mercantile  Transaction,  A 83 

Money  Musk 142 

Mother's  Easter  Scarf ,  The 137 

Off  for  Slumber-Land 141 

Old,  Old  Story,  The 40 

One  Thanksgiving  Day  Out  West 68 

Only  Playing 64 

Pat  and  the  Yankee 158 

Pride  of  Battery  B,  The 104 

Prince  Erie's  Christ-Maid 31 

Princess  Iinra  and  the  Goatherd  6 

Quart  of  Milk,  A 154 

Roman  Valentine,  A 91 

Russian  Christmas,  A...    96 

Ruthie's  Faith  in  Prayer 65 

Society  Flirtation 30 

Soldier's  Joy,  The 72 

Spinning- Wheel  Song,  The  125 

Squeeze  in  the  Dark,  A H7 

Statue  in  Clay,  The 46 

St.  Valentine's  and  St.  Patrick's  Day 159 

Tit  for  Tat. ir»3 

Total  Annihilation 129 

Two  Thanksgiving  Dances 107 

Valentine,  A 19 

Van  Bibber's  Rock 1 


EMMA  DUNNING  BANKS'S 

ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


VAN  BIBBER'S  ROCK, 
i. 

YOU  ask  the  name  of  that  huge  rock  which  juts  out  overhead, 
And  looms  a  hundred  feet  or  more  above  that  whirlpool's  bed? 
You're  not  a  native  here,  sir,  or  you'd  surely  know  that  spot — 
"Van  Bibber's  Rock,"  we  call  it.  and  1  know  you'd  never  tho't 
A  man  could  leap  from  oil  that  height,  down  in  that  raging  strife, 
And  rise  again  with  breath  enough  t<>  last  a  good  Long  life. 
Vdu  don't  believe  it  !     Well,  'twas  true;  ask  any  hereabout. 
The  man's  name  was  Van  Bibber— but  Til  tell  the  story  out. 

II. 
I  -'pose  you  know  your  hearings  1     West  Virginia?    Just  below 
Kanawha  Falls?    Sou  do.     Well,  then,  'twas  fourscore  years  ago 
Since  settler  Rube  Van  Bibber  made  that  awful  dive  for  life, 
Leaped  madly  from  that  rocky  cliff,  and  braved  the  whirlpool's  strife. 

Vail  Bibber  was  a  man  of  note,  who  owed  no  one  a  dime; 

A  man  whose  worth  was  valued,  sir,  in  that  old,  stirring  time, 

When  Indian-  prow  lei  I  around  at  night,  to  steal  and  kill  and  burn  ; 

For  vengeance  joined  with  justice  then  and  made  Van  Bibber  stern. 


And  Kate  Van  Bibber!     His  youngwife!    They  said 'twas  rare  and  fine 

To  look  into  her  glad  blue  eyes,  note  cheek  and  lips  like  wine ; 
To  see  her  golden,  Bhining  hair  il oat  almosl  to  her  hit 

And.  bc-t  of  all.  to  know  t  his  wife  waB  I  rue  and  pure  and  sweet,. 

I 


2  EMMA    1H' XX IXC,    BANKS'S 

Van  Bibber's  wife!     She  .saved  his  life  from  Indian  page  and  spite; 
He'd  proved  himself  their  bitter  foe,  yet  always  won  the  fight. 
For  this  they  hated  Kate's  good  man,  as  only  Indians  hate. 
And  vowed  an  awful  Indian  oath  to  scalp  him  soon  or  late. 

IV. 

One  day  they  chased  him — out  him  ofT  from  help  on  every  side. 
Yet.  when  he'd  turn  and  fire  his  gun,  they'd  quickly  run  and  hide. 
They  pressed  and  drove  him,  'till  upon  that  rock  he  stood  at  last, 
The  whirlpool  raging  mad  below,  the  red  fiends  coming  fast. 
He  turned  his  head,  and  looked  across  the  river  wide  and  blue, 
Saw  friends  and  neighbors  on  the  shore,  despairing  what  to  do; 
Convulsed  with  grief,  within  their  midst  his  wife  and  baby  stood, 
And  back  of  him  those  demons  red,  came  yelling  from  the  wood. 

V. 

I  tell  you,  sir,  e'en  in  that  hour  he  thought  would  prove  his  last, 
Defiance  breathed  within  him  still,  still  blazed  his  rifle's  blast. 
heath  screamed  behind,  death  lay  below;  he  made  a  voiceless  prayer, 
When,  sharp  and  clear,  a  woman's  cry  pierced  all  the  shuddering  air. 
'Twas  she,  his  wife,  his  bonnie  Kate,  the  lass  he  loved  so  well; 
He  bent  his  ear  to  catch  the  sound  he  thought  her  last  farewell, 
When  strong  and  sweet  came  up  these  words :  "  Leap  from  that  rocky 

brink; 
Leap  in,  and,  if  you  strike  alive,  I  will  not  let  you  sink ! " 

VI. 

Down  in  the  grass    Kate    placed  her  babe.     With  one  quick   glance 

above 
A  feverish  prayer  for  help  she  made;  with  courage  born  of  love 
Kan  lightly  down  the  river's  bank;  sprang  in  her  skiff  alone ; 

While  all  the  frightened  settlers  stood  as  turned  to  men  of  stone. 
Yet  when  one  moved  as  if  to  aid.  she  made  a  motion  back, — 
"  \'o'   I.  ami  1  alone,  will  brave  the  poisoned  arrow's  track; 
But  no  one  else  must  risk  a  limb.     Sir,  you've  a  home  and  wife; 
I  only  ask  yon— if— I — die — to  guard — my— baby's  life." 

VII. 
She  sped  her  fragile  bark  along,  until  midway  the  stream; 
Then   looked.     The  Indians,   like  a  cloud,  rushed  down   with  fiendish 

-'■ream. 
Two  hundred  of  them  on  one  man     the  cowards  held  at  bay 
Byjusi  hi-  gun.    When  that  gave  out,  they  though!  they'd  win  the  day. 


ORIGINAL   RECITATIONS  AND  LESSON-TALKS.  3 

Once  more  above  their  savage  yell  rang  out  that  true  wife's  cry: 
"  Leap  down,  dear  Reuben,  take  the  chance,  you  only  once  can  die!" 
His  body  shuddered  at  the  leap,  but  never  flinched  his  soul. 
He  measured  that  dread  distance,  froin  rock  to  water's  roll; 

VIII. 
Then."  "Wife,"  he  cried,  "  I'm  coming ;  keep  your  courage  good  and  stout." 
Then,  straight  and  sudden  from  the  crag,  his  body  darted  out, 
And  down  into  the  raging  pool  he  dropped  with  lightning  speed. 
The  settlers,  watching,  raised  a  shout :  "  Grod  help  him  in  his  need! " 
Kate  rested  <>ne  dread  moment,  while  the  redskins  yelled  for  blood. 
Her  frail  skiff  "  bobbing  like  a  cork  upon  that  boiling  flood;" 
And  all  the  thousand  years  gone  by  seemed  in  that  moment  pressed, 
To  one,  who  watched  to  see  him  rise  upon  the  water's  crest. 

IX. 

She  darted  her  bark  lower;  then  she  gave  a  sudden  start, 
One  exclamation  followed:  "Courage!  I  am  here,  true  heart!" 
He  rose  up  close  beside  her,  and  she  drew  him  in  right  brave, 
'.Mid  showers  of  deadly  arrows,  from  what  seemed  a  watery  grave; 
Nor  word,  nor  breath,  nor  sound  gave  she,  but  faster  plied  the  oar; 
Her  strength  was  almost  wasted,  and  she  worked  as  ne'er  before. 
The  cruel  arrows  thicker  fell.— one  struck  and  pierced  her  hand! 
Dear  God,'1  Bhe  prayed,  "oh,  give  me  strength,  just  strength  to  reach 
The  land." 

X. 

She  reached  the  shore.     The  men  came  down,  and  from  their  throats  a 

ghoul  : 
"Three  cheers  for  Rube  Vail  Bibber's  wife,  and  settler  Rube,11  rang  out. 
You  ask  me  if  she  fainted  their/    Well,  no,— she  never  tried; 

bike  any  other  woman  would,  she  sat  right  down  ami  -cried  ' 

The  Indians  let  //ml  man  alone.      "  His  life  was  charmed."  they  said. 

Naughl  else  had  saved  him  from  a  grave,  beneath  the  whirlpool's  bed.'' 

The  baby  Kate  laid  on  the  graSB,  in  that  first  awful  shock. 
Lived  lom_r.  and  'tis  his  child  that  tells  of  old  Van  bibber's  Rock. 


LESSON  TALK. 

"  V:iii  Bibber's  Hock  "  i^  Intended  to  be  somewhat  in  the  vein  of  a 
character  recitation.  Imagines  man,  bluff,  hearty,  earnest,  ami  honest 
in  all  tint  he  Bays  and  doe-    not  ,-i  polished  gentleman,  not  a  boor,  but 


4  EMMA   DUNNING  BANKS'S 

a  man  who,  standing  on  the  historical  spot  where  the  event  took  place, 
would  have  sufficient  dramatic  Intensity  within,  to  impersonate  at 
times,  even  in  description,  as  the  excitement  of  his  narration  grew  upon 
him.  This  done,  you  have  the  key-note  to  the  mood  into  which  I  wish 
yon  to  throw  yourself  before  uttering  a  word  of  the  selection. 

(1)  Try  to  feel  as  though  yon  were  going  to  have  a  talk,  to  tell  a 
story  to  some  one.  Locate  the  rock  above  you  on  the  right,  in  an  ob- 
lique direction,  simply  glancing  toward  it,  and  the  whirlpool  beneath 
during  the  first  two  lines;  then,  with  a  preliminary  negative  shake 
of  the  head,  repeat  line  :!.  Allow  yourself  a  gesture  in  line  5,  by  point- 
ing to  the  rock  above  and  the  whirlpool  beneath,  turning  the  hand 
over  and  bringing  it  up  supinely,  in  a  somewhat  impassioned  manner 
on  the  words  "  and  rise  again."  Delsarte  says,  "  Conjunctions  are  ellip- 
tical ; "  therefore,  fill  in  the  pause  after  the  word  "  but,"  in  line  8,  with 
an  inquiring  look  and  slight  movement  of  the  head,  as  much  as  to  say, 
"  if  you'll  allow  me,"  and  the  action  of  the  first  stanza  is  finished. 

(2)  No  gestures  are  necessary  in  this  stanza,  but  I  should  like 
y«>u  to  bear  in  mind  the  fact  that  words  arc  picturesque.  The  word 
"stirring"  with  the  repeated  r  and  the  word  "prowl,"  have,  when 
properly  uttered,  a  sound  just  illustrating  their  meaning. 

(3)  Make  a  bright,  sunshiny  picture  of  the  young  wife,  by  coloring 
your  tone  with  admiration,  in  a  light,  cheerful  manner.  You  can  here 
be  permitted  a  double  gesture  (one,  according  to  Delsarte,  coming 
under  the  genus  "  moral ")  to  illustrate  her  floating,  golden  hair.  The 
two  emotions,  love  and  hate,  color  this  stanza  with  alternate  light  and 
shade. 

(4)  Increase  of  rate,  making  due  allowance  for  rhetorical  pauses, 
marks  the  first  half  of  the  fourth  stanza.  In  line  5,  throw  the  weight 
well  forward  on  the  advanced  right  foot,  the  left  merely  resting  on  the 
toes,  and  the  head  forward  in  sympathy  with  the  strong  leg.  The  left 
hand  and  arm  will  recede  in  opposition  to  the  right,  which  will  come 
forward  and  up.  the  hand  shading  the  eyes  while  looking  "  across  the 
river  wide  and  blue.'"  Keeping  the  same  attitude,  let  the  hand  slowly 
leave  the  brow,  and.  going  forward,  point  out  the  "friends  and  neigh 
bors."  A  slight  gasp  and  start  of  recognition  before  the  word  "con- 
vulsed" will  bring  you  back,  with  weight  slightly  predominating  upon 
retired  limb.  Vou  must  let  the  pathos  of  this  line  form  a  strong  con- 
trast with  the  abhorrence  expressed  in  the  last. 

(.-»)  Again  remember  the  picturesque  in  enunciating  the  words  "de- 
liance"  and  'blazed"  in  line  2  of  the  fifth  stanza.  A  quick  rearward 
glance,  a  sudden  recoil,  and  brief  upturning  of  the  eyes  will  illustrate 
the  three  actions  permissible  in  line  3.  The  womanly  cry,  full  of  an- 
guish,  yel   strong    to  carry  encouragement   (lengthening   the   vowel- 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  5 

sounds  to  give  the  effect  of  distance),  will  suggest  itself  to  any  close 
student  or  analytical  reader.  Turn  to  the  right  and  look  upward 
toward  the  rock,  when  giving  the  call  of  wifely  encouragement. 

(6)  Push  out  the  arm  full  length,  hand  vertical,  to  make  the  "mo- 
tion back ; "  then  say,  "  No !  I,  and  I  alone,'"  and  so  on.  There  is  another 
slight  vertical  movement  of  the  hand  on  the  words  "  no  one  else."  Still 
keeping  the  arm  extended,  in  statuesque  pose,  allow  the  hand  to  be- 
come prone,  and  the  arm  and  forefinger  tense  and  full  of  feeling,  as 
you  say,  "Sir,  you've  a  home  and  wife."'  Now  let  the  muscles  relax, 
the  arms  drop,  take  a  step  forward,  clasp  the  hands  together  and 
utter  the  last  line  brokenly,  tearfully,  and  with  a  world  of  prayerful 
entreaty  and  pathos  struggling  through  each  and  every  word. 

(7)  Contemptuous  hate  and  scorn  have  their  part  to  play  in  the 
seventh  stanza.  Then  comes  once  more  the  imploring  wifely  cry,  with 
head  uplifted  and  arms  outstretched  toward  the  beloved  one  in  peril. 
In  impersonating  the  wife,  look  upward  toward  the  right  as  in  the  fifth 
stanza. 

(8)  The  husband's  answering  call  in  the  eighth  stanza  must  be  full, 
heavy,  and  strong,  paying  due  attention  to  the  lengthening  of  the 
vowel-sounds,  to  keep  up  the  idea  of  the  distance  to  which  the  voice 
must  be  carried.  Naturally,  he  would  look  down,  as  he  is  upon  the 
rock,  far  above  his  wife.  In  lines  2 and  :'>.  the  straight  and  sudden 
dramatic  gesture  is  suggested.  If  you  make  it  double,  you  must  finish 
with  a  right-hand,  single  gesture.  Then  comes  the  hoarse,  combined 
shout  of  the  settlers.  You  know  that  the  past  is  behind:  you  can, 
therefore,  make  an  effective  backward  movement  of  the  hand  and  arm 
on  the  words,  "and  all  the  thousand  years  gone  by." 

(9)  One  word  of  caution  is  necessary  in  the  ninth  stanza.  Sou  will 
^■t-  that  the  faithful  wife  needs  both  hands  for  work;  do  not,  in  the 
prayer  in  the  last  line,  clasp  or  move  the  hands  in  any  way;  intense, 
agonized  facial  expression  and  pleading,  prayerful  strength  of  tone  are 
what  the  student  must  rely  upon. 

(10)  With  the  exception  of  the  ringing  shout  of  the  settlers,  the  re- 
maining stanza  is  finished  in  a  cheerful  and  exceedingly  plain,  conver- 
ted ional  manner. 

There,  fellow  students,  have  I  partially  succeeded  in  giving  a  brief 
outline  for  action-study?    Would  that  [  could  convej  to  you  the  soul 

power,    the   pathos  and    (at    times)    tragical    emphasis    which    \<>u    can 

Infuse  into  this  selection  I  I  can  onl)  sa}  Be  enthusiastic,  be  analyti- 
cal, and    abandon    yourself   to  every   impulse   of  / rm  f>  <  I i 11 Q ,  and    you 

will  never  be  criticised  as  being  " theatrical." 

This  selection  Is  founded  upon  fact,  and  [ta  rendition  takes  about 
eight  minutes. 


EMMA    DLWNIXG   HANKS S 


PRINCESS  IMRA  AND  THE  GOATHERD. 

i. 

CLOTHED  in  purple  and  fine  linen,  Princess  Imra  from  her  tower 
Notes  the  snowy  summer  cloudlets,  counts  the  moments  of  each 
hour, 
Till  a  silvery,  tinkling  jingle  from  some  distant  green-clad  liill 
Nearer  comes,  and  nearer,  nearer,  making  all  her  pulses  thrill. 
•Jingle.  lingle,  lingle,  lingle,  tinkle  faster,  tinkle  slow; 
Jingle,  tingle,  rush  and  mingle  pride  and  love  in  one  wild  throe. 

II. 

Clothed  in  purple  and  fine  linen,  Princess  Imra  paces  now 
Dp  and  down  her  palace-tower,  clasps  her  hands,  and  knits  her  brow- 
Shall  she  meet  him?     No — she  may  not.     She — the  royal  princess  born  ; 
He — forsooth — a  lowly  goatherd!     Such  as  he  were  made  for  scorn. 
So  she  sits  her  at  her  casement;  womanlike,  she  bends  her  ear, 
Curves  her  snowy  neck  to  listen  to  the  jingling  bells,  so  clear. 

III. 
Looms  a  picture  now  before  her,  memory's  artist  paints  the  thing, 
Picturesquely  paints  a  goatherd,  paints  him  like  a  very  king, 
1 '.lints  a  frightened,  fallen  princess,  thrown  from  off  her  snow-white 

horse. 
Hears  a  frightened  steed  behind  her;   can  the  goatherd  stop  its  course? 
Death  seemed  destined  then  for  Imra.    When  that  picture  fades  from 

view 
\ni>t  memory  brings  another;  touches  it  with  colors  true. 

IV. 
Snow-white  horse  and  steed  have  vanished,  and  the  Princess  Imra,  fair 
Bends  above  a  death  like  goatherd.     Willing  hands  wit  h  tenderesi  care 
Bear  him  to  King  Runid's  palace,  and  no  prince  of  royal  race 
Ever  y.-t  had  more  attention  than  this  goatherd  with  a  lace 
Sculptured  like  some  fair,  young  Greek  god ;  godlike,  too,  in  grace  o| 

limb; 
Raved  he  all  times  of  the  princess.      [mra's  starry  eyes  grew  dim, 

V. 

ELecollecting  bow  he  wandered.     Languages  of  other  climes 

Rolled  from  off  his  tongue  delirious,  and  sometimes  he  spoke  in  rhymes. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  7 

Runid's  daughter,  Princess  Iuira,  wondered  much  within  her  heart, 
What  could  send  a  goatherd's  fancy  through  the  cultured  realms  of  art. 
<  !onvalescenee  proved  a  foeman  dangerous  in  the  lists  of  love; 
Cupid  used  him  in  this  battle.     Imra.  like  some  gentle  dove, 

VI. 
Often  came  and  cheered  the  goatherd  as  he  brighter  grew  and  strong, 
Hushing  all  her  hearts  proud  weakness.  uiurmuring  "'twill  nut  lie  for 

long," 
Till  an  hour  came  when  love's  madness  burst  all  channels,  sprang  forth 

free. 
"Princess  Imra.'  cried  the  goatherd,  "stifle  pride,  and  come  with  me; 
Trust  your  heart,  'twill  not  deceive  you.  love  for  me  is  reigning  there, 
Love  for  thee  reigns  here,  triumphant,— Imra,  Princess,  love  and  dare. 

VII. 
"  Love  and  dare  the  world's  cold  chiding."     Imra  rose  up  like  a  queen, 
Royal  princess  from  her  forehead  to  her  arching  toot.  I  ween. 
Dusky,  veil-like,  all  her  tresses,  purple  in  their  midnight  hue. 
Rippled  pearl-twined  lengths  behind  her.  reaching  to  her  jewelled  shoe. 
Blood-red  rubies  formed  her  girdle,  diamonds  on  each  round,  white  arm 
Gleamed  and  sent  out  fiery  sparkles.     Everywhere,  to  lend  a  charm, 

\  III. 
When  she  moved,  there  flashed  a  jewel ;  pearls  embroidered  all  her  robe; 
Twas  as  though  some  hand  had  gathered,  from  all  quarters  of  the  globe, 
All  the  raresl  of  earth's  jewels,  showering  them  upon  this  girl 
Standing  there  beside  the  goatherd,  in  her  robe  of  'broidered  pearl. 
Queen-like  in  her  wrath,  Bhe  stopped  him  with  a  gesture  haughty,  grand, 
laughing  as  she  saw  t  he  sparkle  leap  from  diamonds  on  her  hand  : 

IX. 
Princess  [mra  wed  a  goatherd?     She  was  born  for  pomp  like  this; 
Wli.it  can  you,  -ir.  have  t"  offer"     quick  lie  stopped  her  with  a  kiss. 
Clasped  her  closely  in  his  strong  arms,  — "  Offer?  this,  and  this,  and  t  his' 
Offer  l<>\ <•  tli.it  outweighs  diamonds,  1"\  e  thou  art  too  pom-  to  miss." 

Flushed  and  angTJ    In-  released  her.  "  Now,  lair  Imra.  yon  are  mine; 

Pate  has  willed  thai  you,  .1  princess,  make  a  goatherd's  life  divine. 

X. 
"Thrice  I'll  come  for  yon  and  call  \ on.  call  with  tinkling goatbells clear ; 

Thrice  I'll  conic    and  come  t  h  rice  only,    lima   Princess      I  mra  dear' 

If  the  third  time  to  m>  summons  you  prefer  your  pride  and  state, 
Nevermore  you'll  hear  the  goatbells,  jingling  out  'comemeel  your  fate 


8  EMMA   DUNNING  BANKS'S 

From  her  casement  Princess  Inira  rose  and  paced  once  more  her  tower; 
"  O   my  goatherd,"  low  she  murmured,  "'tis  the  third  time,  now;  love's 
power 

XI. 
"  Vainly  have  I  strove  to  conquer;  I  will  yield  me  to  its  spell, 
Peal  and  ring  your  bells,  mv  lover,  for  they  chime  mv  pride's  death- 
knell." 
Princess  [mra  doffs  her  jewels,  casts  her  purple  off  with  haste; 
Simplest  robe  of  snowy  muslin  dons  she  with  the  daintiest  taste. 
Never  diamond  in  the  kingdom  ever  flashed  as  did  her  eye, 
Twinkling  to  the  merry  music  of  the  bell-notes  sweet  and  high. 

XII. 

Tinkle,  tinkle— to  the  footsteps  of  sweet  Inira,  timid,  slow ; 

Tinkle  faster;  for  she  hasteneth;  listen  now,  and  tinkle  low; 

Jintde  quick,  and  time  her  heartbeats;  almost  now  she's  at  his  side; 

Jingle,  lingle,  tingle,  ringle,  speed  the  goatherd's  royal  bride. 

Up  he  springs,  his  arms  enfold  her;  cries  he:  "  Love  has  conquered  pride; 

Hear  me,  Inira,  'tis  no  goatherd,  but  a  king's  son  woos  his  bride. 

XIII. 

"  Good  King  Runid  knows  my  story,  and  his  daughter's  hand  he  gives 
To  the  prince  disguised  as  goatherd,  who  will  love  her  while  he  lives." 
Jingle,  lingle,  ringle,  jingle,  once  again  the  sounds  uprose; 
Jingle,  lingle,  ringle,  mingle.     Imra  softly  murmured :  "Those 
On  our  marriage  morn,  my  goatherd,  will  be  all  the  bells  I'll  hear; 
Nothing  grander,  nothing  sweeter  than  their  tinkle,  tinkle  clear." 

XIV. 
Tinkle,  tinkle,  tinkle,  tinkle — how  the  goatherd's  bells  rang  out; 
Tinkle,  tinkle,  tinkle,  tinkle — people  whispered:  "  What's  about?" 
Ringle.  Lingle,  jingle,  lingle — '"that  our  princess1  wedding-day," 
Jingle,  lingle,  ringle,  Lingll — "should  be  kept  in  this  strange  way." 
Jingle,  lingle,  Lingle,  lingl< — well  the  bells  their  secret  kept; 
Maidens  questioned,  greybeards  wondered,  gossips  muttered  while  they 
slept. 

XV. 
All  in  vain.     The  sweet  bells  jingled,  but  their  music  nothing  told, 
Nothing  whispered  to  the  maidens,  naught  unto  the  gossips  old; 
Nothing  hinted  of  the  reasons  why.  with  every  passing  year 
on  the  marriage  morn  of  [mra,  peal  again  the  goatbells clear. 
When  she  hears  their  lowly  music.  Imra.  with  exquisite  tfraee, 
Kneels,  with  face  upraised,  so  thankful  that  she  chose  the  humble  place. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.  9 

LESSON-TALK. 

This  selection  possesses  many  elements  of  popularity.  To  render  it 
in  the  highest  degree  artistic,  a  most  careful  imitation  of  high-toned, 
silvery,  tinkling  bells  is  necessary.  Head-tones  and  front-placing  and 
a  peculiar  prolonging  and  floating  and  connecting  of  the  bell-notes 
upon  the  air  are  demanded.  A  repetition  of  the  words  to  give  the  idea 
of  dying  away  in  the  distance,  almost  echo-like  in  effect,  will  add  greatly 
to  the  beauty  of  the  work.  In  every  instance  the  words  "  tinkle,  jingle, 
ringle,  lingle,"  etc.,  should  be  pronounced  as  though  long  e  were  the 
vowel  in  place  of  short  i.  Thus:  "  teenkle,  jeengle,  reengle,  leengle." 
At  the  same  time,  prolong  the  "  ng"  sound. 

(1)  Begin  with  good,  full,  deep  tones  in  an  easy,  conversational 
manner.  A  curving  gesture  with  right  hand  and  arm  on  the  words 
"  summer  cloudlets  "  is  optional  with  the  recitationist.  After  the  word 
"till,"  commencing  line  3,  make  a  pause  and  fill  it  in  with  a  move- 
ment of  the  hand  and  a  general  sympathetic  poising  of  the  head  and 
torso,  as  though  listening  to  the  sound  of  bells  coming  from  the  right. 
The  face  will  naturally  turn  to  the  left  with  a  pleased,  animated  ex- 
pression. After  the  words  "nearer  comes,1'  make  another  pause,  still 
listening,  then  finish  line  4.  Pitch  the  bell-notes  very  nigh,  clear  and 
sweet.  Try,  at  a  very  high  pitch  and  very  prolonged,  the  phonetic 
sound  of  "ng."  After  a  few  efforts  it  should  be  sweet  and  musical. 
Practice  this  exercise  until  your  ear  is  accustomed  to  the  tones,  and  would 
miss  them  should  you  fail  to  prolong  the  sound  of  "ng"  in  the  words 
"jingle,  lingle,"  etc.     Observe  that  you  connect  these  bell-tones  closely. 

(2)  The  action-work  for  lines  3  and  4  is  described  in  lines  1  and  3. 
A  strong,  expulsive,  prolonged  tone,  described  by  this  sign  >,  is  re- 
quired during  the  utterance  of  the  word  "No,"  in  line  3.  Just  before 
the  word  "  bends  "'  a  pause  and  slight  movement  of  the  head  in  a  listen- 
ing attitude  are  permissible  in  line  5. 

(3,4)  Gesture,  as  though  the  mental  pictures  seen  by  Inira  were 
actually,  for  the  time  being,  before  the  narrator.  Double  gesture,  the 
left  hand  following  the  right  as  though  bearing  something  to  King 
Runid'e  palace,  is  allowable  in  line  '■'>  of  the  fourth  stanza. 

(."m   Conversational  and  devoid  of  gesture. 

(0)  During  the  Impersonation  of  the  young  lover,  let  the  voice  be 

cl.-ar,    deep    and    ringing,    the    hands    outstretched    and     impassioned. 

Place  left  hand  upon  the  heart,  on  appropriate  words  in  the  last  line. 

A  sudden  cessation  of  the  lover's  speech  as  though  interrupted  by 
lmra.  A  double  gesture,  made  Blowlj  and  beginning  almost  from  the 
crown  of  the  head,  during  line  8.  This  gesture  descends  slowly  until  the 
closing  words  of  the  line,  then  finishes  on  the  next  line,  with  a  move- 


IO  EMMA   DUNNING  BANKS'S 

in.  nt  of  both  hands,  to  illustrate    the  floating  Lengths  of  hair  behind 
her.    other  gestures,  it'  desired,  are  suggested  by  the  remaining  lines. 

(Si  No  gestures  necessary;  facial  expression  must  supply  action- work 
entirely. 

(9  10,  11)  The  gesture  of  repulsion — "haughty,  grand,"  with  arm 
outstretched  full  length  from  the  shoulder,  hand  repellent,  vertical; 
the  whole  body  poised  in  sympathy  with  this  mood  of  outraged  pride, 
—should  1»'  made  before,  and  yet  almost  simultaneously  with  the  open- 
ing words  of  the  ninth  stanza.  Contrast  well  the  voices  of  Princess 
Imra  and  her  lover.  The  former  should  ring  out  sweet  and  scornful; 
that  of  the  latter  should  be  deep,  full,  thrilling  with  feeling,  which  the 
goatherd  vainly  strives  to  suppress.  In  the  last  line  of  the  tenth 
stanza,  the  voice  of  the  princess  is  sweet  and  low,  rising  slightly  and 
with  a  linn  emphasis  on  the  word  "will-1  occurring  in  line  1  of  the 
eleventh  stanza,  and  ringing  forth  with  a  glorious  decision  throughout 
line  2.  Quick,  impetuous  movements  of  the  hands,  as  if  casting  off  her 
robe  and  jewels,  will  constitute  the  remainder  of  the  action-work. 

(12,  13,  14,  15)  Once  more  listen  and  once  more  ring  out  the  bells,  as 
you  listen.  Repeat  the  words  quickly  again  and  again,  connecting 
them  and  letting  them  die  away  in  the  distance,  if  you  choose.  The 
work  will  be  pleasing  if  managed  artistically.  I  know  whereof  1  speak, 
for  it  has  been  tried  with  marked  success,  in  fact,  the  remainder  of 
the  selection  depends  upon  this  artistic  jingling  of  the  bells,  also  a  care- 
ful distinction  in  the  quality  of  the  voices  while  impersonating  the 
characters,  so  that  a  blind  person  could  distinguish  the  voice  of  the 
man  from  that  of  the  maiden.  The  alternate  ringing  of  the  bells  and 
interruptions,  mad"  by  the  uttered  descriptions  inserted  between,  can 
be  made  exceedingly  pretty. 


HIS  MOTHER'S  COOKING. 

HE  sat  at  the  dinner-table  there,  with  a  discontented  frown  : 
"The  potatoes  and  steak  were  underdone,  the  bread  was  baked 
too  brown  ; 
The  pie  too  boot,  the  pudding  too  sweet,  and  the  roast  was  much  too 

fat. 
The  soup  ><>  greasy,  too,  and  salt,  'twas  hardly  fit  for  the  cat. 

"  I  wish  you  could  eat  the  bread  and  pics  I've  s.-cn  my  mother  make; 
They  are  something  like:    It  would  do  you  good  just  to  look  at  a  loaf 

of  her  cake." 
Bald  the  smiling  wife:  "I'll  improve  with  age,  just  now  I'm  but  a  be- 

ginner; 
But  your  mother  has  come  to  visit  us,  and — to-day     she  — cooked — the 

— dinner' " 

Lizzik  M.    Hadlby. 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.         \\ 


EMMA  DUNNING  BANKS'S  MEDLEY, 
i. 

i  i  (~\H  dear!     Oh  dear!     Oh  dear  me,  suz !     I  feel's  if  I  shVd  die! " 
V-^    "  Thar,  Sister  Brown,  thar,  don't  take  on ;  thar,  thar,  poor  soul, 
dont  cry. 
You  did  your  best,"  said  Deacon  Smith.     His  better  half  then  spoke: 
"  Ef  folks  hed  my  spunk,  Widder  Brown,  they  wouldn't  sit  an'  poke 
A  hankercher  abeout  their  eyes,  an1  grunt,  an'  groan.     I  hope 
Ef  trouble  come  ter  me  I  won't  drop  drown,  an'  cry  an'  mope." 
"Oh  dear!     Oh  dear!"  sobbed  Sister  Brown,  "I  s'pose  I'm  doin1  wrong, 
But  ever  sence  Janet  went  oil',  1  hain't  felt  over  strong. 

II. 

"  Sence  father  died  I'm  all  broke  deown ;  dew  tell  me  what  to  dew; 

Advise  me  jest  like  you  was  inc.  an'  like's  though  I  was  you." 

"  Ef  I  was  you."  said  Sister  Smith,  a-shakin'  of  her  linger, 

"  I'd  <ri r  my  hat  on  in  a  jiff,  an'  not  one  moment  linger. 

I'd  go  ter  York,  an'  -it  thai  gat,  an1  fetch  her  back  ter  teown. 

I'd  hire  her  emit  ter  Squire  Jones;  I'd  bring  her  notions  deown; 

I'd  actress  her!    The  sassy  minx,  she  tho't  my  Obadiah 

W.i  n't  good  enough,  but  ueow,  I  think,  he'd  better  look  up  higher. 

III. 
"  The  church  bells !    Massy!    T  must  go.    You  see— wal,  time  is  fleetin1, 
We  members  meet  ter-night,  ter  turn  your  darter  eout  <>'  meetin'." 

The  deacon  let  his  wife  go  fust  ;  he  loitered  near  the  door: 

"  I'd  leave  it  all  with  (iod  ;  "  he  said  ;  "  don't  cry  nor  fret  no  more. 

I've  heerd  it  said  play  actin1  folks  don't  be  all  bad.  an'— well— 

I'd  trust  your  gftl  ter  CO nt    right,  e'en  ef  she'd  walked  thru— well, 

Well,  well,  well,  well—  I  aigh  forgot    excuse    ahem—"    "Jo-si-ahl" 
Jfes,  mfe,  Vm  comin' — "  ou1  he  rushed  with  face  as  red  as  flre. 

IV. 
Good,  simple,  country  folk  were  they;  an  actress  ill  their  eyes 

Beneath  their  notice,  ruined.  I«>st.  a  being  t<>  despise. 

Ac  parent  trees  sometimes  send  forth  one  rose  of  deeper  blush, 

Of  sweeter  fragrance,  rarer  shape,  bo,  in  the  quiel  hush 

Of  village  life,  this  rose-maid  grew  In  startling,  beauteous  grace; 

Bome  untamed  Are  ran  through  her  veins,  lit  all  her  radiant   lace. 

Her  uioods,  and  curling  golden  lock--   thej  tried  to  bind  one  way, 
But  moods  and  curls  alike  burst  bounds,  and  sweetly  went  astray. 


12  EMMA   DUNNING  BANKS'S 

V. 

"  Some  think  she's  smart,  but,  lawful  suz,  she  can't  dew  work,"  said  one. 
"  She's  that  stuck  up,11  drawled  Simeon  Gfreen,  "  a  chap  can't  have  no  fun. 
I  beau'd  her  hum  from  meetin'  onc't;  1  mm — she  slapped  me  pert 
Jest  cos  I  tried  ter  kiss  her!     Whew!  Jewhittaker,  it  hurt!" 
That  night  her  widowed  mother  held  a  letter  in  her  hand. 
"  Dear  mother,"  thus  the  missive  ran,  "  some  day  in  all  the  land 
There'll  be  no  happier  mother  known  than  she  whose  face  I  see 
In  my  mind's  eye,  now  bending  low,  to  read  these  lines  from  me. 

VI. 
"  Dear  motherkin,  I'm  studying  hard ;  I  work  with  all  my  heart; 
Some  day  I  hope  to  reach  the  top  in  my  beloved  art. 
Dear  one,  some  money  every  week  I'll  send  you.     Do  not  fret; 
Leave  all  to  God— you'll  ne'er  have  cause  to  blush  for  your  Janet." 
Later  another  message  came:  "  Mother,  I  wish  you  would 
Come  live  with  me,  your  actress  child,  and  keep  me  pure  and  good." 
She  did  not  run  to  Sister  Smith,  to  ask  her  what  to  do, 
But  went  forthwith,  and  why  she  went  the  neighbors  never  knew. 

VII. 

Years  passed.   Well,  one  day  Simeon  Green  "  'lowed  that  he'd  go  ter  York 

Ter  see  the  shows  and  theatres,  and  then  go  hum  an'  talk." 

Aflood  with  twinkling  golden  light,  glittering  from  dome  to  pave, 

Electrical  with  silenced  gaze,  the  crowded  theatre  gave 

Appreciation's  token  to  the  actress.     Then  the  weight 

And  pressure  of  the  silence  breaks  in  plaudits  loud  and  great. 

The  play  is  sparkling  coined y,  "  London  Assurance"  named; 

When  Lady  Gay  appeared  Sim  jumped,  his  face  with  scarlet  flamed. 

VIII. 
A  silvery  laughter-peal  rang  out;  Sim  softly  said,  "  I'll  bet 
My  bran  new  pair  of  galluses,  that  actress  thar's  Janet. 
Jemimy,  thar's  that  laugh  agin — "     "  Ha-ha-ha-ha-ha-ha — " 
"  She's  dressed  ter  ride  on  horseback,  sure." 

"  Ha-ha-ha-ha-ha-ha.  well,  governor!  Here  I've  been  down  five  times 
climbing  up  your  stairs  in  my  long  clothes." 

"  How  did  my  filly  behave  herself,  (ray?"  asked  Max. 

"Gloriously,  Max '  gloriously !  There  were  sixty  horses  in  the  field, 
all  mettle  to  the  bone;  the  start  was  a  pictun — away  we  went  in  a 
cloud — pell  mell — belter  skelter — the  fools  first,  as  usual,  using  them- 
selves up — we  soon  passed  them— first  your  Kitty,  then  my  Blueskin, 


ORIGINAL   RECITATIONS  AXD  LESSON-TALKS.         13 

and  Craven's  colt  last.  Then  came  the  tug.  Kitty  skimmed  the  walls 
— Blueskin  flew  over  the  fences — the  colt  neek-and-neck,  and  half  a 
mile  to  run — at  last  the  colt  balked  a  leap  and  went  wild.  Kitty  and 
I  had  it  all  to  ourselves — she  was  three  lengths  ahead  as  we  breasted 
the  last  wall,  six  feet,  if  an  inch,  and  a  ditch  on  the  other  side.  Now, 
for  the  first  time,  I  gave  Blueskin  his  head — ha — ha!  Away  he  flew 
like  a  thunderbolt — over  went  the  filly — I  over  the  same  spot,  leaving 
kitty  in  the  ditch — walked  the  steeple,  eight  miles  in  thirty  minutes, 
anil  scarcely  turned  a  hair!" 

IX. 

As  dashing,  merry  Lady  Gay,  Sim  watched  her  to  the  end, 

Sometimes  quite  sure,  and  sometimes  not.  it  was  his  old-time  friend. 

"  Ef  1  could  see  her  mad  onc't,  like  when  she  slapped  my  face, 

By  Jinks!  I'd  know  her  then.     I  h'lieve  I'll  hang  around  this  place; 

I'd  like  ter  go  back  hum,  an'  say,  I'd  jest  seen  Nettie  Brown 

A-queenin'  it  upon  the  stage,  an1  rulin'  New  York  teown." 

Some  recitations  the  next  day,  for  charity,  she  gave; 

On  hand  was  Sim,  to  listen,  puzzled  still,  intent  and  grave. 

X. 
"I  used  ter  sense  Net's  tone  o'  voice;  this  gal  hain't  tew  alike; 
Soi  1  iet  i  11  les  she'll  pit  cli  'em  way  deown  low,  nex'  thing  the  ruf  she'll  strike. 
Hear  that  one  ueow — jest  like  a  bird — it  makes  a  feller  wink" — 

•  Bobolink,  bobolink,  bobolink — link-link,  bobolink  a-link-link-link.11 

•'  Ef  folks  knew  what  wuz  manners,  here,  they'd  leave  their  young  'tins 

hum. 
That  baby's  goin'  ter  cry  fer  sure — Oh !  what!  'tissh< — I  vum! 

[Introduce  baby-crj  ] 
Her  mouth's  all  puckered  eout  o'  shape!     She'll  never  git  it  straight. 
It  soiiikIn  tew  real — don't  like  it  much,  a  cryin1  kid  I  hate. 

XI. 
"What  gibberish's  thai  she's  sayin'neow?     It's  Dutch,  by  all  that's  law- 
ful." 

•  Mini-  'ouse  vash  gettin1  oopside  oudt,  und  Baitsy  she  vash  awful, 
Dot's  no  use  dalkin',  vecan'1  okgree,  sooch  aickshuns  I  naif er  saw; 
To  dell  you  de  drudt,  'tween  you  mid  me,  she  vash  vorse  as  a  mudder- 

In-law. 
l)ot  all  gonunenced  apoul  der  Bible;   I  yusl  dook  it  downvrom  der 

shelf— 
Dot's  a  ding  I  naiferlook  into  mooch    you  knov*  bowdal  vasb  yourself; 
I'm l  l  rasb  a  readin'  dol  chapter  vere  ii  say  " — 

'  1  IharcoaL  charcoal ' 


14  EMMA   DUNNING  BANKS'S 

And  echo  faint  and  far  replies,  'ahko,  ahko,' 

'  <  iharco,' '  ahko,' 
Bach  cheery  sounds  announce  Mark  Haley's  morning  rounds. 
When  nightfall  comes,  his  face  bends  o'er  the  crib  wherein  his  darling 

lies, 
And  in  a  coaxing  tone  he  cries — " 

XII. 

"  Vnii,  George  Washington  Thomas  Jefferson  Persimmons  Henry  Clay, 

Splain  yerself,  chi-ile, — stop  dat  at-  fool  smile; 

Whar  yer  done  been  wid  de  baby  V     Yah — yah,1' 

And  baby  with  a  laugh  replies — 

"  The  lasht  toime  as  iver  I  saw  him,  poor  dear,  was  with  me  own  blissid 

motherly  eyes 
A-sittin'as  good  as  goold  in  the  gutther,  a-playin'  at  makin'  little  dirt  pies. 
Get  out  of  my  sight,  do  you  hear  you  little  Kitty  McNab ; 
Ye  promised  to  have  half  an  eye  to   him,  ye  know  ye  did,  ye  dirty, 

desateful  young  drab. 
Oh,  if  I  only  had  him  safe  in  these  two  motherly  arms,  wouldn't  I  hug 

him  and  kiss  him  ! 
Hut  a  child  don't  feel  like  a  child  till  you — " 

[Music  of  second  strain  of  "  Soldier's  Joy."]  * 
" '  Cross  again  and  swing  your  partners,'  Jack,  you  must  not  whirl  so  fast ; 
'  Forward  gents  and  leave  your  ladies."  how  I  wish  this  dance  could  hist. 
Jack,  it's  very  kind  indeed  of  you,  a  great,  big,  grown-up  boy, 
To  remember  me,  a  lonely  child,  and  dance  the  '  Soldier's  Joy.'" 

[Music  ends.] 

XIII. 
"  Hooray!  She's  mad!     I  know  her  now;  she's  gittin'  worse  an'  worse," 
Cried  Sim;  and  then  the  actress  gave  forsaken  Leah's  curse. 

"  [Leah.]  Silence,  perjured  one !  Can  the  tongue  that  lied  still  speak? 
The  breath  that  called  me  wife  now  swear  faith  to  another?  Does  it 
dare  to  mix  with  the  pure  air  of  heaven?  Is  this  the  man  I  worshipped, 
whose  features  ]  bo  fondly  gazed  upon?  Ah!  [shuddering.]  No — no! 
The  hand  of  heaven  has  crushed,  beaten  ami  defaced  them!  The 
stamp  of  divinity  no  Longer  rests  there! 

"  {Rudolf.}     Y'ou  broke  faith  first  ;  you  took  the  money. 

"[Leah.]  And — you— believed— I  had  taken  it.  Miserable  Christian, 
and  you  cast  me  off!  Not  a  question  was  the  Jewess  worth.  This, 
then,  was  thy  work;  this  the  eternity  of  love  you  promised  me!  For- 
give me,  heaven,  that  I  forgot  my  nation  to  love  this  Christian!  Let 
that  love  be  lost  in  hate.      Love  is  false,  unjust;  hate  endless,  eternal. 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS. 


15 


"[Rudolf:]    Cease  these  gloomy  words  of  vengeance;  do  not  tempt 

heaven. 

"[Leah.]  Blasphemer!  and  yon  dare  call  on  heaven!  What  com- 
mandment hast  thou  not  broken.'  Thou  shalt  not  swear  falsely!  You 
broke  faith  with  me!  Then  shalt  not  steal!  You  stole  my  heart' 
Thou  shalt  not  kill!     What  of  life  have  you  left  to  me? 

"[Rudolf.]     Leah,  hear  me! 

"[Leah.]  The  old  man  who  died  because  I  loved  you;  the  woman 
who  hungered  because  1  followed  yon;  may  they  follow  yon  in  dreams 
and  be  a  drag  upon  your  feet  forever!  May  yon  wander  as  I  wander. 
Buffer  shame  as  1  now  suffer  it.  Cursed  be  the  land  you  till;  may  it 
keep  faith  with  you  as  you  have  kept  faith  with  me!  Cursed,  thrice 
cursed,  may  you  be  forevermore,  and  as  my  people  on  Mount  Ebal 
spoke,  so  speak  I  thrice — Amen!     Amen!     Amen!" 

XIY. 
The  curtain  fell;  the  spell  was  broke,  and  Simeon  cried:  "  By  thunder' 
I  know  that's  Nettie  by  her  spunk.     Neow,  where'sshe  live,  1  wonder." 

1!>-  found  that  out.  and  called  that  night.      In  dainty  home  dress  -111 

Janet  received  him.  smiled,  and  said:  *' Jewhittaker.  it  hurt!" 

"  JTou're  right,  it  did."  cried  Sim;  "  1  swow,  Janet,  that  slap  you  gave 

Wa>  righteous;  I'll  remember  it  till  I  go  to  my  grave." 

Well.  Simeon  traveled  home  next  day.  and  how  his  tongue  did  run 

<  )n  Net,  her  mother  and  her  home,  and  all  her  triumphs  won. 

XV. 
Throughout  the  village  people  said  ;  "  We  alius  called  her  smart ; 
The  way  she's  looked  out  tor  her  ma  shows  a  dreadful  good,  big  heart.' 
Said  Sister  Smith  ;  "  Wal,  pa.   I  guess  that  me  an*  <  (badiah 

'Ull  go  along  with  you  an' see  ef  all  New  fork's  a  fire 

'Bout  Net."    They  saw  the  girl  enact  a  typeof  womanhood 

So  pure,  go  l  rand,  so  noble,  Sister  Smith  said  .  "  Wal,  that's  good." 

The  deacon  murmured,  while  the  tears  ran  down  his  kind  old  lace, 

'  I'd  trust  that  gal  to  come  eoul  righl  through  any  kind  o' place." 


LESSON  TALK. 

This  selection  aims  to  suit  t  he  needs  of  t  hose  advanced  students  oi 
elocution  and  professional  readers,  who  like  occasionally  to  add  some- 
thing after  the  order  of  the  medley  to  t  hen-  repertoire.  It  requires  wide 
range  of  voice,  versatility  oi  style,  proficiency  in  dialect,  and  vivid, 
spirited  manner  in  descript  1011. 

(li  So  tew  selections  are  rendered  in  anything  but  the  standing 
position  thai  it  Is  well  to  vary  this  unwritten  law,  when  it  maybeao 


1 6  EMMA    Di'XXING  BANKS'S 

eomplished  easily  and  naturally,  as  its  the  case  during  several  stanzas  of 
this  selection.  A  thin,  tremulous  voice,  a  rocking  and  swaying  to  and 
fro  of  tin-  body,  accompanied  by  a  nervous  clasping,  unclasping  and 
wringing  of  the  hands,  will  keep  one  busy  with  action-work  during 
line  1.  While  impersonating  Deacon  Smith,  change  the  voice  toadeep, 
kindly,  consolatory  tone,  and  make  use  of  slight  quivering,  prone 
movements  of  the  right  hand,  as  though  soothing  some  one  in  distress. 
Entirely  different  is  the  voice  employed  for  the  independent,  unsympa- 
thetic character  of  the  deacon's  wife.  A  palm-leaf  fan  might  he  made 
to  do  good  work  in  emphasizing  her  peculiarities.  Somewhat  jerky, 
and,  at  rimes,  extremely  spiteful  emphases,  mark  the  delivery  of  the 
words.  Once  more  a  thin,  pathetic,  humbled  wail,  announces  Widow 
Brown.  The  deacon  and  wife  speak  to  the  right,  the  widow  to  the 
left,  and  the  twang  of  Yankee  dialect  predominates  in  all  three  of  the 
widely  different  qualities  of  voice  employed.  That  of  the  deacon  is 
deep  and  kindly,  and  of  the  wife  harsh  and  pre-eminently  self -asserting, 
in  strong  contrast  to  the  humble,  pathetic  speech  of  Widow  Brown. 

(2)  Her  little  pleading  bid  for  the  sympathy  of  Mrs.  Smith  is  all  in 
vain.  Sharp,  decisive,  pitiless  as  fate,  the  stronger  woman  lays  down 
the  law  to  her  weaker  sister,  waxing  more  and  more  emphatic,  and  at 
the  same  time  more  lavish  of  her  pauses,  using  them  to  gather  addi- 
tional strength  for  the  final  annihilation  embodied  in  her  closing  words. 
During  her  pauses  the  fan-movement  becomes  aggressively  furious. 
Rise  as  you  say  "  massy."  The  last  words  and  culminating  stab  of  Mrs. 
Smith  are  given  with  unmistakable  satisfaction. 

(3)  The  rasping  voice  ceases,  and  once  more  come  the  soothing  tones 
of  the  deacon.  His  confusion,  as  he  finds  himself  on  the  brink  of  pro- 
fanity, is  capable  of  producing  much  merriment.  The  irritable,  pro- 
longed call  of  "  Jo-si-ah  "  proves  a  welcome  relief  for  his  embarrassment. 

(4,  5,  (5)  The  fourth  and  half  of  the  tilth  stanza  are  to  be  given  with- 
standing. The  fourth  stanza  consists  chiefly  of  simple,  earnest  narra- 
tion, largely  dependent  upon  facial  expression  and  emphasis  for  effect. 
Strong  Yankee  dialect  introduces  the  comedy  sketch  of  Simeon  Green, 
who  demands  that  plenty  of  "vim"  be  put  into  his  "I  vum"  and  "Je- 
whittaker,  it  hurt."  Then,  after  sinking  into  the  chair,  use  the  palm 
of  the  hand  as  an  imaginary  letter-page,  and  read  the  letters  with  the 
utmost  sweetness  ami  tenderness  of  expression. 

(7)  After  the  utterance  of  the  name  "Simeon  Green,"  rise  slowly, 
and  impersonate  him  in  a  patronizing,  pompous  style.  In  line  3,  as- 
cending gestures,  expressive  of  admiration  are  permissible,  with  a  little 
wave  of  the  hand  from  the  wrist  upward,  and  dropping  down  on  the 
words  "from  dome  to  pave."  Silent  pantomime  to  illustrate  the  clap- 
ping of  hands  will  explain  the  latter  part  of  line  0. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS. 


17 


(8)  In  the  merry,  rippling  laughter  of  Lady  Gay  Spanker  give  as 
many  "  ha-ha's"  as  you  please,  and  with  her  first  words  put  a  sort  of 
shake-of-the-hand  tone  into  her  jolly,  rollicking,  musical  voice.  De- 
liver "  how  did  my  filly  behave  herself,  Gay?"  in  a  masculine  tone. 
New  comes  the  dashing,  ringing,  jubilant  and  famous  racing  speech. 
It  is  a  prean  of  victorious  glee.  There  is  an  involuntary  step  forward 
to  the  right,  with  a  swift  indrawing  of  the  breath  and  gathering  to- 
gether of  the  forces  in  a  sort  of  racing  ecstasy,  just  before  ringing  out 
the  words  "  gloriously,  Max,  gloriously."  The  right  hand  comes  out 
supinely  and  emphatically  on  the  words  "sixty  horses  in  the  field," 
and  stiffens  in  sympathetic  rigidity,  so  to  speak,  on  the  words  "all 
mettle  to  the  bone."  Away  goes  the  hand  upward  in  the  air,  as  you 
say,  "  the  start  was  a  picture — away  we  flew  in  a  cloud,"  with  little 
turns  and  excited  waves  of  the  hand  back  and  forth  for  "  pell  mell" 
and  "  helter  skelter."  Make  a  gesture  of  attention,  and  let  exultation 
throb  in  every  syllable  of  "the  fools  first,  as  usual,  using  themselves 
up."*  Point  to  an  imaginary  Max,  then  to  self,  flushing  with  a  back- 
ward wave  as  you  say,  "first  your  Kitty — then  my  Blueskin — and 
(raven's  colt  last."  Bring  out  with  intensity  the  words  "then  came 
the  tug."  Now  draw  the  body  well  back,  curving  the  right  hand 
pronely  to  the  waist-line  in  a  preparatory  movement  for  a  pushing, 
forward  gesture  on  the  prolonged  cry  "  Kitty  skimmed  the  walls."  Do 
tin-  same  with  left  hand  for  "Blueskin."  Crowd  on  the  excitement; 
stand  --till  farther  back,  and  with  imaginary  rein  do  some  determined 
driving,  as  you  saw  "the  colt  neck-and-neck,  and  half  a  mile  to  run." 
oh,  if  I  could  only  inspire  you  here  with  the  truly  racy,  vividly  glow- 
ing feeling  that  this  glorious  speech  demands!  You  should  thrill  with 
spirit  and  enjoyment  to  your  very  finger-tips,  while  with  the  utmost 
quickness  of  transition  each  phase  of  feeling,  each  pose  and  gesture, 
must  mell  and  merge  into  the  one  which  follows.  "At  last  the  colt 
balked  a  leap  and  went  wild"  leaps  out  exultantly.  The  exultant  e\ 
citement  continues  ;  make  a  forward  gesture  on  "  three  lengths  ahead  ;" 
"  six  feet  if  an  inch  "  raises  the  hand  higher,  and  then  it  designates  the 

"ditch  On  the  Other  side,"  and  the  desperation  of  the  ride.  The  voice 
mu-T  now  he  lowered  BO  as  to  gain,  not  lose,  in  dct erni i nat ion  anil  in- 
tensity Make  ■■<  gesture  of  attention,  bet  the  right  foot  come  for- 
ward .  bend  the  knees  a-  you  a -mi  me  1  he  driving-attitude,  holding  the 
rein-,  and  let  the  racing  fever  fill  all  your  veins  as  you  say,  "  Now.  for 
the  first  time.  I  gave  Blueskin  his  head."  Almost  everything  the  selec- 
tion mean-  can  he  put  into  the  prolonged,  exultant,  victorious  "  ha-ha" 
which  follows.  .Make  excited,  alternate  gestures  with  both  hands  to 
designate  the  mad  race  of  the  hoi-!-.    Throwthe  right  hand  forward 

in   a   horizontal    front    gesture   on    the    words  "walk    the   steeple,"  t  lien 
2 


iS  EMMA    DUNNING   BANKS'S 

make  a  preparatory  movement  toward  the  left  shoulder  on  the  words 
«>i^hT  miles."    Finish  the  gesture  by  swinging  the  hand  obliquely  out 
as  you  say"in  thirty  minutes;"   then  make  a  victorious  curving  up- 
ward sweep  of  hand  and  arm  as  you  say,  "scarcely  turned  a  hair." 

(9,  10,  11)  You  may  be  seated,  if  you  prefer,  through  I  he  ninth  stanza. 
After  line  2  in  the  tenth  stan/.a.  the  remaining  lines  may  he  omitted  if 
one  is  not  equal  to  the  "  bobolink  "  and  "  baby  cry."  If  they  are  given, 
rise  when  Baying  line  3;  if  not,  go  on  to  the  eleventh  stanza,  and  rise 
when  you  say  "  It's  Dutch,  by  all  that's  lawful."  During  the  latter  part 
of  lines  0  and  3  in  the  eleventh  stanza  a  comical  gesture,  as  though 
warding  off  some  calamity,  will  suit  tiie  character.  To  mix  things  up 
thoroughly,  touch  yourself  when  you  say  "you,"  and  point  to  some  one 
when  you  say  "me."  1  have  found  in  teaching  the  "charcoal  call" 
that  middle  D\>  and  A  •  below  middle  C  on  the  piano  are  good  tones. 
For  the  echo,  go  just  one  octave  higher.  For  the  call  and  echo  com- 
bined, take  the  same  two  octaves,  making  the  call  and  echo  all  with  one 
breath,  leaping  with  the  precision  of  a  warbler  from  A>  below  middle 
C  to  the  second  D»  above.    "When  well  rendered  the  effect  is  beautiful. 

(12)  Negro  dialect  should  be  studied  from  a  real  old-time  southern 
specimen  if  possible;  failing  that,  from  tin-  very  besT  teacher  that  can 
be  procured.  The  word  "chi-ile,"  in  line  2,  runs  from  a  low  tone  in  the 
first  syllable  to  a  squeak  in  the  second.  The  darkey-laugh  at  the  end 
maybe  prolonged  at  will.  Now  comes  a  bit  of  boisterous  grief  and 
extravagant  wailing  and  rockingto  and  fro,  in  the  form  of  Irish  dialect. 
The  four  lines  of  the  "  Soldier's  Joy "  should  be  intoned  to  the  second 
strain  of  the  music  known  by  that  name.     [See  page  72.] 

(13)  Now  comes  the  effort  to  climb  from  thescomedy  element  to  the 
tragic  heights  embodied  in  the  "Curse  from  Leah."  The  voice  is  low 
and  vibrant  with  the  majesty  arising  from  outraged  womanly  feeling. 
She  turns  to  the  right,  and  with  a  superb,  dominant,  compelling  gesture 
cries:  "Silence,  perjured  one."  In  the  rush  of  words  that  follow,  the 
hand  and  arm  play  a  silent,  active,  eloquent  part  in  obedience  to  the 
outlet  of  long  pent-up  feeling.  A  shuddering  wave  of  hand  ami  body 
and  inclining  to  the  left  suggest  themselves  on  the  words  "no,  no,"  as 

do  also  the  final  warding  off  and  decided  sic])  to  the  left  as  you  say, 
"  tin-  stamp  of  divinity  no  longer  rests  there."  Rudolf's  Voice  is  at  once 
masculine  and  hesitating.  Leah  turns  on  him  in  a  perfect  blaze  of  de- 
nunciation asshe  cries,  "and — you— believed — I  had  taken  it!"  Words 
cannot  express  the  emphasis  on  the  word  "  believed,"  northe  indescrib- 
able execration  that  leaps  forth  and  concent  rales  itself  on  that  hand 
word      <   liiNtian."      If  there  exists  a  pathos  without  weakness  that  can 

be  exemplified  in  the  "fury  of  a  woman  scorned,"  it  should  color  the 
words,  "this,  then,  is  thy  work;  this  the  eternity  of  love  you  promised 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         19 

me! "  Drop  quickly  to  the  right  knee  with  hand  upraised  in  invocation 
to  heaven  for  vengeance,  in  the  explosive  lava-like  burst  of  passion 
that  follows,  rising  to  the  fullest  majesty  of  stature,  with  hand  high  in 
air,  pealing  out  the  words  "  love  is  false,  unjust ;  hate  endless,  eternal," 
prolonging  the  syllable  "end"  and  letter  "e"  of  the  latter  words. 
After  Rudolfs  speech,  Leah  is  like  a  tremulous  sheet  of  white  flame  in 
the  terrible  grandeur  of  her  wrath.  If  you  can  feel  yourself  quivering, 
glowing  and  consuming  with  this  awful  intensity,  you  will  not  fail  in 
the  work  which  follows.  "  Blasphemer"  is  whispered.  As  a  threaten- 
ing wind  rise-  gradually  before  an  awful  tempest,  so  the  words  that  fol- 
low become  more  and  more  intense,  until  a  sort  of  sobbing,  despairing 
wail  runs  through  the  sentence,  "  what  of  life  have  you  left  me,"  and, 
turning  to  the  left,  she  covers  her  face  with  her  hands.  Rudolf  speaks; 
she  turns,  and  now  the  molten  volcanic  stream  of  passion  knows  no 
withholding;  it  is  literally  poured  upon  him  in  all  its  scorching,  seeth- 
ing blast.  All  the  depth  and  majesty  of  tone  and  gesture  at  command 
will  be  needed  to  attempt  to  express  in  the  three  "aniens"  the  grandeur 
and  desolation  of  the  despair  of  "  Leah,  the  Forsaken." 

(It.  15)  The  hardest  of  the  work  is  over,  and  1  feel  like  drawing  a 
long  breath  with  and  for  you.  If  Yankee  dialect  comes  easily,  what 
follows  [a  but  play,  and  is  to  be  delivered  in  easy,  conversational  si  J  le, 
with  any  little  gesture  preferred  to  render  emphatically  the  words, 
"  any  kind  o'  place."' 


A  VALENTINE. 

I    STOOD  al    Simmers   window,  and  I  saw  that  there  were  signs 
That  the  festival  approaching  was  the  bold  St.  Valentine's; 
Then  I  suddenly  remembered  that  the  worthy  Mrs.  1)., 
Last  year  had  very  kindly  sent  a  valentine  to  me. 

<^uick  I  stepped  up  to  the  counter,  and  a  smiling  maiden  brought 
All  t  he  (><•- 1  oi  the  collection,  thinking  one  of  them  1  sought. 

for  a  sweetheart,11  said  she  coyly,  "  here's  1  beautiful  design;1 
'Twas  ;i  fan  with  painted  roses,  and  the  legend  "  I  am  thine." 

"  No.  it  i-n't  fora  sweetheart,  bul  my  wife,"  I  shyly  said. 
Back  thai  maiden  put  the  boxes, and  Bhe  tossed  her  little  head, 
Crying:     <»h.  I  beg  your  pardon  I "  while  she  smiled  at  the  mistake. 
That's  the  sori  of  thing  you  want,  sir    WstJu  cheapest  om  "•>  make!" 

George  k.  Sims, 


20 


EMMA   DUNNING  BANKS'S 


H*a 


DIAMOND  CUT  DIAMOND. 

Not  too  quick. 


-m 


-*-       -5-        *-       -# 


s=a=ta 


,^-F 


t- 


r~r-  y-  ^^rr^r 


#E 


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ORIGINAL  RECITATIONS  AND   LESSON-TALKS. 


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23 


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O  -  hoi  -  ye  -  ho,     Ho  -  ye  -  bo,     Ho  -  ye  -  bo      Ho! 


I  Tin  italicized  lines  are  to  be  sung.] 


/~)If,  Hoi-i/e-lio,  Hb-ye-ho,  who's  for  the  fetryt 
{The  iiiiur's  in  iiini.  ih,  sun  going  doum,) 
And  I'll  row  ye  so  quick  a  ml  III  row  yt  so  steady, 
An'/  7/.v  but  a  i"  nun  to  Twicfa  riham  Town. 
"Now.  Kate,'1  said  Aunt  Belle,  "  1  <l<»  wish  you  would  cease; 
Tins  whole  livelong  day  you  have  given  me  no  peace. 

I  cannot  conceive  what  yOU  see  in  tli.it  BOng, 
To  screech  and  to  shout   it  BO  all  the  day  long." 


II. 
Kate  pouted  her  lip-      they  were  cherry  ripe  red — 
And  tiptoed  behind  her  aunt's  chair  as  she  said  : 
Now.  dear  Aunty   Belle,   it  you  call  that  a  screech, 

Just  listen.  1  pray,  while  to  B  Hal  I  reach 


24  EMMA    DUNNING   BANKS'S 

Kate  laughed  till  she  cried,  changing  mirth  to  mock  tears, 
To  B66  auntie  run  with  her  fingers  in  ears. 
Once  more  at  piano  she  sat  down  and  Bang, 
Anil  sweetly  and  blithely  her  merry  voice  rang: 

III. 

(>/i,  tin  ft  rry  man's  slim  and  the  ferry  mail's  young, 
A  ml  In  'sj'ns/  a  .soft  twang  in  the  turn  of  his  tongue, 
And  he's  fresh  as  a  pippin  a  ml  brovm  as  a  berry, 
Ami  'tis  /nit  a  penny  to  Twickenham  Town. 
Now,  Kate  was  an  heiress,  wore  diamonds  and  silk, 
And  bathed,  said  Dame  Humor,  in  rose-scented  milk. 
In  view  of  these  facts,  it  was  strange,  I  confess, 
To  meet  her  at  twilight  in  simple  print  dress. 

IV. 

Her  braided  gold  hair  hung  down  low  in  one  tress, 
The  tint  of  the  rose  in  her  cap  matched  her  dress. 
You'd  judge  her  a  waiting-maid  out  for  a  stroll, 
A  tryst  with  her  lover  the  end  of  her  goal, 
But  never  the  millionaire's  daughter,  Kate  Clair! 
The  breeze  tossed  and  floated  the  gold  of  her  hair. 
Then  stilled  its  soft  breath  as  her  steps  neared  the  shore, 
And  "Twickenham  Ferry"  she  warbled  once  more: 

V. 

Oh,  Ilni-yi  -In),  Ho-ye-ho,  Vm  for  the  ferry, 
{The  briar's  in  bud,  the  sun  going  down,) 
And  ifs  /"ti  as  it  is,  and  I  haven't  a  penny, 
And  how  shall  I  get  me  to  Twickenham  Townf 
Her  song  died  away  as  the  plash  of  an  oar 
Proclaimed  that  some  boatman  was  nearing  the  shore 
The  moonbeams  seemed  coaxing  the  ripplets  to  sleep, 
When  a  musical  baritone,  mellow  and  deep, 

VI. 

Took  up  the  old  song,  keeping  time  with  the  oar, 
As  surer  and  faster  his  strokes  neared  the  shore. 
His  soft,  merry  voice  pealed  the  notes  with  a  will; 
The  maid  paused  to  listen,  stood  breathless  and  still: 

S/n'il  a  rose  in  her  bourn  t,  and  oh,  she  look'd  sweet 
As  the  little  pink  flower  that  grows  in  the  wheat; 
With  In  /  tin  i  l;s  like  a  rose  and  her  lips  like  a  cherry, 
And  sure  and  you're  we/eome  to  Twickenham  Town. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.        25 

VII. 

A  quick  exclamation  of  joy  from  Kate's  lips, 

As  swift  to  the  edge  of  the  water  she  slips. 

The  boatman  leans  out,  grasps  her  snowy  white  hand, 

His  strong,  sudden  push  sends  the  bark  off  the  strand. 

Together  their  voices  now  blend  as  they  row : 

Oh,  Hoi-ye-ho,  Ho-ye-ho,  Ho-ye-ho,  Ho! 

The  notes  die  away,  rise  again,  and  then  swell 

As  down  to  the  shore  in  wild  haste  comes— Aunt  Belle. 

VIII. 

Oh,  Hoi-ye-ho,  Ho,  you're  too  late  for  the  ferry  ! 

(The  briar's  in  bud,  the  sun  going  down,) 

And  he's  not — rowing  quick,  and  he's  not — rowing  steady, 

You'd  think  "'twas  a  journey  to  Twickenham  Town. 

Aunt  called  and  then  shouted,  you  might  say  she  screeched; 

She  stamped  with  her  foot — and  her  arms  she  outreached; 

She  listened,  the  singers  were  all  that  she  heard, 

While  muttering.  "Ridiculous!  silly!  absurd!1' 

IX. 

Oh,  Hoi-and-oh-lb).  you  may  call  as  you  will, 
The  moon  is  a-rising  <>u  Petersham  Hill, 
And  with  lorn  liki  a  rose  in  the  stem  of  the  wherry, 
Tin  ri's  dang<  r  in  crossing  to  Twickt  riham  '/'<>//<>/. 
Dame  Rumor's  last  whisper  went  far  and  came  near, 
That "  Catherine  ('lair's  actions  were  certainly  queer. 
Disguised  as  a  maid,  she'd  been  seen  oft  of  late!" 
This  news  put  Annt  Belle  in  ;i  terrible  state. 

X. 

She  raved  and  she  stormed,  till  her  storm  showered  in  tears; 
Unflinchingly  Kate  bore  reproaches  and  sneers, 
she  tossed  her  bright  em-Is  as  she  tenderly  said ; 
Aunt  Bella,  ['m  determined  thai  boatman  to  wed. 
He'll  come  here  to-morrow  and  ask  for  Maud  Brown; 

[magine  hi--  wonder  to  see  1 some  down 

Attired  as  Kate  Clair,  perhaps  humming  low. 
Oh,  Hoi  if  ho.  Ho  if  im.  Ho-ye-ho,  Ho/1' 

XI. 
All  snmmer.  Dame  Rumor  had  prophesied  fair, 

A  match  tor  Miss  Kate  in   Lord  ('nthliert   Adair, 
Who  surely."  Bald  Humor.  "  was  Coming  to  stay 

That  seasonal  shore  View.'1    Bui  day  after  day 


26  EMMA   DUNNING  BANKS'S 

Rolled  off  from  the  calendar,  bringing  no  lord, 

And  managing  mammas,  with  daughters,  looked  bored, 

Some  left  the  hotel  in  disgust,  but  Kate  stayed, 

And  Rumor  soon  told  of  her  pranks  as  a  maid. 

XII. 

The  morn  Kate  expected  her  boatman  to  call, 
Aunt  Belle  fled  the  parlor.     He  entered  the  hall, 
A  manly  young  fellow,  in  broadcloth  most  fine, 
With  brown  flashing  eyes,  and  with  lips  like  red  wine; 
He  hummed  the  old  tune  as  Kate  opened  the  door, 
Then,  laughing,  he  turned,  saying:  "  Kate,  I  implore, 
Forgive  my  deception;  I  wooed  in  disguise. 
The  first  time  I  saAV  you  I  planned  in  this  wise: 

XIII. 

"  To  make  you  my  bride,  just  from  pure  love  alone; 
Forgetting  all  pride,  a  mere  boatman  you'd  own. 
You  did  so.     My  darling,  prepare  for  a  blow, 
For  soon  all  the  world,  and  Dame  Rumor,  must  know 
Your — romance — fell — through,  for  the  heiress,  Kate  Clair, 
Will  wed  with  none  other  than — Cuthbert  Adair! 
My  love,  as  a  maid  you  were  not  just  complete; 
You  donned  silken  hose,  and  your  dear  little  feet 

XIV. 

"  Wore  boots  made  in  Paris ;  in  short,  at  a  glance 
I  knew  you  were  Kate,  not  her  maid  from  '  la  France.'1' 
My  lord  then  stepped  back,  and  he  bowed  very  low; 
Kate  drooped  like  a  flower,  courtesied  stately  and  slow, 
Then  flashed  him  a  glance  from  her  bonny  blue  eyes: 
"Lord  Cuthbert  Adair,  since  you  own  this  surprise 
You  planned  from  the  first,  I  will  follow  your  lead, 
Confess  to  the  same  scheming,  venturesome  deed. 

XV. 

"  Our  girls  of  to-day  take  no  dust  in  their  eyes 
At  starting;  Lord  Cuthbert,  it  was— no  surprise. 
Your  boatman — was  strange;  while  his  face  was  burnt  brown 
Bifi  hands  were — too  soft.      l\(d  a  silken  hat  crown 
Embroidered  with  naught  but— a  coronet,  sir! 
You  see.  from  the  first  I  confess  and  aver 
1  knew  you.     And  now.  since  this  frankly  I  own, 
Perhaj»  such  a  schemer  you'll  gladly  disown." 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.  27 

XVI. 
Most  brown  have  you  done  me,"  Lord  Cuthbert  replies: 
For  Brown  was  your  nana-,  and  well  done  this  surprise; 
'Twaa  diamond  cut  diamond,  'tis  plain  to  be  seen. 
But  marriage  will  end  our  sharp-shooting,  I  ween." 
The  answer  Kate  made  him  will  never  be  told; 
'Twas  something  like  "  pardon."  and  something  like  "bold." 
Aunt  Belle — just  imagine  it!— startled  them,  so, 
Ye-Hoi-ye,  7io,  Ho-ye-ho,  Ho-ye-ho,  Ho!" 


LESSON-TALK. 

n)  When  you  have  made  your  bow  and  listened  to  the  preiude 
plnve<i  by  the  accompanist,  you  are  ready  for  the  opening  words  of  the 
song.  Grive  them  with  expression;  make  them  light  and  gay,  teeming 
witn  ouoyant  life  and  spirit.  Sustain  and  prolong  the  words  begin- 
ning witn  the  capital  letter  "h,"  and  also  the  word  "who's,"  in  the 
first  line.  In  line3  treat  likewise  the  words  -row"  and  "quick."  With 
the  cessation  of  the  song  comes  the  impersonation  of  Aunt  Belle.  The 
voice  employed  is  refined,  but  high-pitched  and  nervous.  Turn  slightly 
to  the  Lett  with  an  annoyed  expression  of  countenance,  and  little  im- 
patient clasping  and  unclasping  of  the  hands.  At  times  turn  slightly 
as  if  to  rise  and  leave  the  room.  The  word  "screech"  is  brought  out 
with  a  Bpitefulness,  as  if  to  Obtain  satisfaction  in  that  manner  for  the 
annoyance  Buffered  through  her  wilful  niece. 

(2)  Admiration  colors  line  1.  After  the  conjunction  "  and."  begin- 
ning line  2,  introduce  the  following  action-work:  Holding  up  the 
dress  daintily  on  either  side,  point  the  right  foot  well  forward  and  rest 

the  weight  upon  it,  leaning  forward  as  though  bending  over  some 

A rliiin  if  you  are  well  poised  by  Lifting  the  left  foot  from  the  -round. 

If  you  can  maintain  your  position  on  one  foot  you  are  perfectly  bal- 
anced. Lei  tin- whole  poise  of  the  body  and  the  expression  of  the  face 
become  the  embodiment  of  archness  and  mischief  ;is  you  give  Line  4,  and 
the  snatch  of  bow?  introduced  immediately  after.  The  "  ho  "  reaching 
to  I;-  must  break  and  abandon  itself  in  a  Bilvery  peal  of  prolonged,  rip- 
pling laughter,  so  full  of  genuine  mirth  as  to  become  contagious,  run- 
ning in'"  and  making  the  two  following  lines  fairly  tingle  with  fun 
stand  vt  though  convulsed  with  mirth,  the  forefingers  pointing  to  the 
tj»  von  describe  the  exit  made  by  Aunt  Belle.  Finish  pleasantly 
and  nanirally. 

(8)  No  prelude  Is  desirable;  only  the  accompaniment  is  necessary. 
Sin-  softly  the  Brut  line  of  tin-  song,  bul  lei  Hie  facial  expression  be 
verymerrj  and  icnvwing.     Pun  continues  the  prevailing;  spirit  through 


23  EMMA    DUNNING   BANKS'S 

the  next  line.  The  word  "twang"  may  he  brought  out  with  a  tope 
indicative  of  its  meaning.  Ring  the  tones  out  joyously  during  lines  3 
and  4,  taking  care  to  hold  and  sustain  the  words  "fresh,"  "pippin," 
"brown"  and  "berry."  Suggest  the  idea  of  the  location  of  Twicken- 
ham Ferry  by  a  wave  of  the  right  hand  in  the  distance. 

(4)  Show  that  the  length  of  the  hair  is  helow  the  waist-line  by  an 
appropriate  gesture.  A  quick  upward  flourish  of  the  hand  near  the 
head  on  the  words  "  rose  in  her  cap  "  will  be  finished  by  a  corresponding 
wave  downward  near  the  dress.  A  slight  hesitation  during  lines  3  and 
4  will  show  a  little  doubt  as  to  the  probable  station  of  this  masquerad- 
ing belle.  In  line  5  decision,  combined  with  a  warding-off  movement 
of  the  hand,  as  though  forbidding  thought  of  anything  else,  constitute 
the  facial  expression  and  action-work.  During  line  G  let  the  tones 
adapt  themselves  to  the  words  employed,  seeming  to  float  upon  the  air 
during  the  latter  part  of  the  line.  The  gesture,  too,  must  be  harmoni- 
ous; a  little,  quick  tossing  movement  on  the  word  "tossed,"  then  a 
subtle,  floating  wave  during  the  remainder,  which  must  still  itself  into 
a  prone  position  of  the  hand  on  the  words  "stilled  its  soft  breath;" 
finish  by  simply  pointing  toward  the  imaginary  shore. 

(5)  The  last  two  lines  of  the  song  are  given  in  a  deprecating,  self- 
pitying,  appealing  manner.  You  must  actually  seem  to  see  the  picture 
of  the  sparkling  moonlit  water,  as  the  right  hand  sweeps  upward 
toward  the  supposed  golden  ball,  and  then,  lowering,  suggests  the  lumi- 
nous waves  beneath.  Turn  the  head  to  the  left,  and  let  the  attitude 
picture  the  idea  of  listening  intently  to  the  notes  of  the  baritone,  heard 
from  the  right. 

(6)  A  gesture  as  though  rowing  a  boat,  and  a  rhythmical  beat  of  the 
voice  on  the  words  "keeping  time,"  in  line  1,  also  on  the  expression 
"surer  and  faster"  will  be  found  admissible.  During  line  4  assume 
once  more  the  listening  attitude,  as  though  fascinated  by  the  song. 
Let  the  word  "  Oh,"  in  the  song,  be  brought  out  in  a  burst  of  admira- 
tion born  of  appreciation,  and  enunciated  in  a %  staccato  manner. 
"  Sure  and  you're  welcome"  is  given  in  a  hearty,  rollicking  manner. 

(7)  Leaning  over,  move  slightly  from  side  to  side,  as  if  to  obtain 
a  better  view  of  the  boatman  and  the  maid.  By  the  expression  of  the 
eye,  make  the  scene  seem  quite  distant;  a  mere  suggestion  of  shading 
the  eyes  with  the  hands  will  serve  to  aid  the  illusion.  You  are  supposed 
to  be  in  sympathy  with  the  lovers,  and  repeat  almost  unconsciously 
the  actions  you  witness  for  the  benefit  of  the  audience.  Therefore,  as 
you  see  the  boatman  push  the  boat,  you  show  what  his  action  was  by 
a  swift  drawing  in  and  rapid  pushing  out  of  both  hands.  Prolong  the 
last  note  of  this  line  of  song,  and  let  it  float  and  die  away  in  a  mere 
murmur  of  musical  tone.     In  the  last  line,  make  a  pause  where  the 


ORIGIXAL   RECITATIONS  AND   LESSON-TALKS.         29 

dash  is,  and  reserve  the  words  "Aunt  Belle"  as  a  sort  of  mirthful  sur- 
prise. 

(8)  Mischievous  merriment  sparkles  in  every  note  of  the  song.  A 
quick  shading  of  the  eyes  before  you  announce  that  "  he's  not — rowing 
quick,  and  he's  not — rowing  steady."  The  pauses  introduced  and  rep- 
resented by  the  dashes  are  filled  in  by  a  very  naive  and  amused  expres- 
sion. Duringthe  last  line  pat  and  clasp  and  unclasp  the  hands,  and 
suggest  a  walking  To  and  fro.  expressive  of  irritability  and  nervousness. 

(9)  That  a  teasing,  bantering  mood  prevails  in  the  song  will  be  seen 
at  a  glance.  Wave  the  hand  gracefully  upward  as  you  picture  the 
moon's  rising;  designate  the  boat  in  the  distance  by  a  lower  movement. 
During  last  line  of  song  shake  the  finger  in  an  emphatically  amused 
and  knowing  manner  on  the  words  "  danger"  and  "  crossing;  "  finish  by 
pointing  out  the  direction^jof  Twickenham  Ferry.  Make  an  extended 
gesture  to  the  left  on  the  word  "  far."  returning  the  hand  on  the  word 
"near."  A  somewhat  shrill  voice,  with,  however,  a  hushed  effect  and 
a  drawing-down  of  the  mouth  and  raising  of  the  eyes  in  holy  horror  to 
impersonate  a  gossiping  old  maid,  will  amuse  during  lines  <>  and  7. 

(l'h  Make  the  word  "unflinching"  picturesque  by  a  certain  firmness 
in  the  tone,  and  an  uplifted  bearing  of  the  body.  The  girlish,  fun- 
l«.\  lug  spirit  of  Kate  must  evince  itself  in  the  last  t  wo  lines. 

1 1 1 1  Simple  narration. 

(12)  Backward  gesture  to  illustrate  the  flight  of  Aunt  Belle;  amused 
expression  of  countenance.  During  description  of  tin-  young  fellow, 
evince  the  following  emotions,  viz.,  pride  in  his  manliness,  surprise  at 
hi-  line  di<--.  and  admiration  of  his  personal  characteristics.  Use  a 
deep  voice  in  personating  Lord  ( 'uthhert  Adair,  and  speak  obliquely  to 
th>-  left.  The  forefinger  of  the  tight  hand  might  drop  into  the  palm  of 
the  left  in  an  explanatory  manner,  as  you  saw  "planned  in  this 
u  i-.- ." 

(18)    The   hands   and    arms    widen   somewhat   apart    as   you   say   "all 

pride."  During  lines  8  and  1  let  the  strongest  suggestion  of  pathos  and 
despairing  agitation  control  the  tone.  Endeavor  to  convey  the  idea  of 
soi  1  !«•  terrible  news  to  tell;  then  dispel  the  illusion  and  disclose  the  farce 
by  a  laugh  which  must  run  all  through  the  words  "your  romance  fell 
through.*1  A  bow  ushers  in  the  name  "  Cuthberl  Adair."  Begin  line  7 
.-I-  though  it  u.i-  ;m  afterthought,  something  almost  forgotten,  and  as 
though  yon  desired  her  attention  yel  a  moment  longer;  then  triumph 
antly  enumerate  the  means  bj  which  Kate's  Identity  was  made  clear. 

(14)  Suit  the  action  to  the  word  a-  you  say  "  My  lord  t hen  stepped 
back;'1  t h.n  courtesj  for  Kate  in  a  mocking,  sweeping,  stately  manner; 
Hash  the  glance  apwa*d  as  the  body  becomes  more  erect.  In  sweet, 
ea-\   tones,  indicative  of  well  bred  composure,  begin  Kate's  speech. 


3o 


EMMA    nUWIXG   BANKS'S 


Point  alternately  to  self  and  Lord  Cuthbert  as  you  speak  to  the  right 
and  Bay,  "  1  will  follow  your  lead." 

(15)  Make  this  assertion  brightly  and  audaciously,  with  a  sort  of 
pride  in  the  spirit  of  the  girls  of  to-day.  A  quietly  amused,  subdued 
sori  of  triumph  runs  through  lined.  There  is  a  prolonged  wavering 
stress  on  the  word  "strange;"  where  the  dash  is  employed  after 
"  were."  pause  ami  laugh  as  though  irresistibly  on  the  words  "too  soft." 
Ring  out  line  5  in  triumph,  and  during  the  last  line  pat  the  foot  upon 
the  floor,  and  look  down  in  a  pretty  fit  of  girlish  confusion. 

(hi)  Once  more  let  the  deep,  soft  voice  of  Lord  Cuthbert  be  heard. 
Bring  out  the  words  with  a  manly  glow  of  admiration  and  decision. 
Each  grouping  of  words  in  line  7  is  stamped  with  greater  stress  and 
more  enjoyment  of  the  denouement  than  those  preceding. 

Finish  the  bit  of  song  as  you  courtesy  with  Bt>  or  high  C,  according 
whether  you  sing  it  in  the  key  of  Eb  or  key  of  F. 

<  >nly  at  the  commencement  need  the  prelude  be  played  ;  at  all  other 
times  the  accompaniment  should  commence  promptly  with  the  singer. 
By  skilfully  introducing  the  notes  of  the  air  in  the  accompaniment  th& 
singer,  if  a  little  doubtful,  may  feel  easy  about  singing  correctly.  The 
selection  may  also  be  intoned  to  the  music  if  one  does  not  desire  to 
sing.     The  utmost  brightness  and  vivacity  must  characterize  the  work. 


SOCIETY  FLIRTATION. 

"    A  N  idle  straw  to  drift  and  whirl  at  mercy  of  the  wind? 

•»»■     Ah  no'1  (intoned  decisively)  "  such  fate  were  too  unkind; 
No  aim.  direction,  hope,  or  will?     A  vain  and  useless  thing!" 
"  You  wrong  the  straw,"  he  cried;  " its  aim  is  made  one  with  its  king; 
Sans  fear,  sans  doubt,  it  with  King  Wind  sails  buoyant  ly  along." 
She  caught  her  breath:  "And  if  the  wind,"  she  sighed,  "the  wind  be 

strong?" 
Her  eyes  elude  his  searching  gaze;  he  bends  and  speaks  more  low: 
"  Kismet  I "  he  eries.  "  which  will  you  be,  the  wind  or  straw?"    "  Ho-ho! 

"  Ha-Ila  '  "  her  laugh  rings  out.     "  1  just  was  wondering  whether 
We'd  better  just  commence  again ;  you  see — I  think — a  feather 
A  far  more  dainty  simile,  more  airy,  light,  and  \s,i\y. 
Jus(  think  it  o'er."  she  laughed  a^ain.     He  turned  and  walked  away, 
Anil  thought :  "  No  depth  is  there  to  sound  ;  1  will  not  even  try." 
Her  pulses  stirred  and  beat  this  tune:  "Far  better  laugh  than  sigh." 
Flirtation's  fun  if  one  keeps  cool,  holds  sure  and  firm  the  reins; 
But  lest  one  slip  with  tongue  or  lip.  'tis  better  one  refrains. 

Emma  Dunning  Banks. 


ORIGINAL   REGIT ATIOXS  AXD   LESSOX-TALKS.         31 


PRINCE   ERICS  CHRIST-MAID. 
1. 

.  .  ORIXG  me  lilies."  cried  Prince  Eric — kingly  Eric,  tall  and  fair — 

D     ••  Whitest  lilies,  breathing  fragrance,  to  adorn  the  golden  stair 
Leading  to  the  cross  and  altar,  in  our  chapel  Easter  day: — 
'Sli.-  who  brings  the  fairest  blossoms  shall  be  crowned  my  bride  come 

May." 

II. 
Spoke  his  eyes,  this  message  telling,  as  they  rested  looking  down 
On  a  lady  fair  and  youthful :  "  There  is  where  I'll  place  my  crown. *' 
d.iiTl.   Constance  caught  his  love  glance:  flushed  her  face  like  budding 

rose. 
All  the  ladies  caught  it  likewise,  and— they  all  became  her  foes. 

III. 

For  her  skill  with  all  things  blooming  was  a  wonder  through  the  land; 
"l'was  as  though  Prince  Eric  offered,  then  and  there,  the  girl  his  hand 
Highly  born,  but  poor,  was  ('(instance;  from  an  old  patrician  race 
Her  inheritance  was  honor;  all  her  wealth,  a  lovely  face. 

IV. 
Qtiotb.  the  stately  Blanche,  her  cousin,  she  with  eyes  like  cold  blue  stone. 
To  herself  soliloquizing:  "  Poor  is  Constance  and  alone; 
For  her  bread  on  me  dependent  ;  not  a  coin  hath  she  to  spend 
Of  her  own.     All.  lia  '   I'll  manage  tiiat  she  doth  no  lilies  tend." 

V. 
All  the  ladies  Of  the  COUrl  then,  ladies  fair,  of  high  degree, 
Took  to  gardening  with  a  good  will;  'twas  a  sight  full  rare  to  see 
Lustrous  -i  1  ks  ami  rarest  laces,  hands  ashine  with  twinkling  gems 
Seeking  'mong  the  bulbs  of  lilies  for  Prince  Eric's  diadem. 

VI. 
How  he   laughed,  this  lt i-;  1 1 1  <  1   young  Brio:    "Let    them  work   and   have 

their  way. 
Constance1  lilies  will  outbloom  t hem  every  one  on  Easter  day." 
Ah '  he  little  dreamed  the  sad  truth;  dreamed  his  gentle  lady  fair 
Sat  alone,  and  veiled  her  white  face  with  her  floating,  shining  hair. 

VII. 
Sat  alone  in  hitter  anguish,  for  the  Lad]    Blanche  had  said. 
"  .Not  a  blossom  -hall  you  own.  girl;   you  depend  on  me  lor  I. read. 

Think  you  Vll  bu)  lilies  for  you;  let  you  all  mj  chances  steal ? 
Dream  nut  yonjCll  be  Eric's  princess;  it  you  do,  your  senses  reel. 


.2  EMMA   DUNNING  BANKS'S 

VIII. 
"  Yes,  I  know  your  skill  is  wondrous,  and  I  here  lay  my  commands; 
As   I   feed   you.  you  must   pay  me;   tend  my  (lowers  with  those  white 

hands. 
Ah!  Prince  Eric  hopes  to  clasp  them,  filled  with  lilies  Easter  day: 
He  shall  take  me  for  his  princess;  I  have  sworn  it,  come  what  may..1' 

IX. 
( '( instance  rose  and  eourtesied  lowly.    All  the  blue  blood  of  her  race 
Stirred  within  ;  but  not  a  rose  tint  flushed  the  marble  of  her  face. 

( iousin,  we  are  brothers'  children.     Uncle,  dying,  bade  you  swear 
You  would  to  me  be  a  sister;  then  he  left  me  to  your  care. 

X. 

"  This,  your  sacred  oath,  is  broken;  you  are  false  to  all  you  swore. 
Cousin  Constance  was  your  bondsmaid,  all  your  taunts  she  meekly  bore. 
And  she  still,  perforce,  must  bear  them;  but  will  pray  to  God  above 
For  a  miracle  to  happen— save  for  her  Prince  Eric's  love." 

XI. 

Blanche  uprose  in  scornful  anger:  "  Pray,  my  saintly  cousin  fair, 
Pray;  hut.  mind  you,  tend  my  lilies;  they  must  blossom  rich  and  rare." 
Then,  with  taunting  laugh,  she  left  her.     Constance  knelt  and  claspeu 

her  hands: 
"  Heavenly  Father,  loving  Jesus!    Thou  hast  heard  how  Blanche  com- 
mands. 

XII. 

"  True  it  is,  my  bread  I  owe  her;  if  within  Thy  loving  sight 

It  seems  good  she  wed  with  Eric,  I— shall— know — it— just— and— right, 

And  will  try  my  best  to  bear  it ;  but,  oh,  Lord!  dear  God  above, 

If  it  be  not  wrong,  I  pray  Thee,  by  Thy  power,  make  me  his  love." 

XIII. 
( >h.  the  lilies  throve  and  flourished  underneath  her  skilful  hand! 
Never  promise  of  such  blooming  known  before  throughout  the  land. 
But  the  tender,  gentle  Constance  sickened  as  the  lilies  grew; 
Fainting,  praying,  'neath  her  burden,  wearing  heart  and  soul  in  two, 

XIV. 
Till,  at  last,  her  strength  departed,  left  heron  a  bed  of  pain. 
Then  she  called  her  cousin  to  her;  told  her  it  was  all  in  vain; 
She  could  no  more  watch  the  lilies.     "  But  you  shall,"  burst  forth  a  cry 
I  I'll  1 1  her  Superstitious  cousin.     "  Von  shall  tend  them,  though  vou  die! 


ORIGINAL  RECITATIONS  AND   LESSON-TALKS.         33 

XV. 
"  There  is  magic  in  your  fingers;  none  like  you  can  coax  their  bloom. 
You  shall  watch  them,  you  shall  tend  them,  though  it  drive  you  to  thf 

tomb." 
At  her  mandate,  servants  lifted,  bore  the  sick  girl  from  her  bed 
When  the  lilies  needed  water,  till,  at  last,  they  bore  her — dead. 

XVI. 

For  on  Friday  before  Easter — day  our  Lord  was  crucified — 
All  her  gentle  spirit  left  her.  and  she  closed  her  eyes  and  died. 
Then  the  maids  said:  "  We  will  cover  her  with  lilies  while  we  may, 
And  well  take  her  to  the  chapel  to  be  buried  Easter  day. 

XVII. 
"  But  well  keep  her  death  a  secret."     So  the  Lady  Blanche  knew  not, 
When  she  ordered  each  fair  lily  to  be  taken  from  its  pot 
And  in  her  name  sent  to  chapel,  what  a  snow-white  bride  there  lay 

<  lovered  o'er  with  fragrant  lilies,  for  Prince  Eric,  Easter  day. 

XVIII. 
All  the  Blaster  belle  were  ringing,  tolling,  ringing,  peal  on  peal, 
A-  Blanche  glided  down  the  church  aisle,  as  she  thought,  "  Let  Con- 

stance  kneel 
To  the  God  she  loves  to  worship,  let  her  kneel  and  let  her  pray; 
I  liav. nquered;  she  will  see  me  Eric's  princess,  come  what  may."1 

XIX. 

<  )Vr  the  long,  long  box  of  lilies,  Brie  stooped  with  saddened  eyes, 
Wondering  much  why  Constance  sent   none;    then  hi'  paused  in  mute 

surprise, — 

Something  -1  Irred  and  moved  beneath  them;  quick  he  tore  the  blooms 

away, — 
"Constance!"  cried  he.  "true,  sweet  Constance!  you  have  brought  me 

flower-  lo  day." 

XX. 
A-  from  death  to  life  he  brOUghl  her.  't  was  a  miracle,  indeed  ; 
God  in  truth  did  not  forsake  her;    lb-  was  with  her  in  her  need. 

Woke  her  from  her  trance  of  Illness,  Master  lilies  in  her  hand, 
Ready  tor  her  bridegroom,  laic,  noblesl  prince  in  all  the  land. 

\\l 
Then  the  haughty  Blanche  was  softer,  for  she  saw  that  God  was  truth, 
And  she  prayed  to  be  forgiven,  in  1  he  geasorj  of  her  youth. 
Constance  died  upon  Good  Fridaj  and  on  Easter  came  to  life, 

•  •ailed  "Prince  Eric'i  Chrisl  .Maid,"  and,  bj  Borne,  his     lily  wife." 
\i 


34 


EMMA    DUNNING  BANKS'S 


LESSON-TALK. 

(1)  Begin  with  clear,  deep,  ringing  tone,  and  speak  the  first  three 
words.  Prince  Eric's  voice  requires  the  besl  at  your  command.  If 
your  own  conversational  voice  he  naturally,  pleasantly  deep,  use  it  to 
finish  the  line,  drawing  yourself  very  erect  when  telling  that  the  prince 
is  "kingly,  tall  and  fair."  Resume  Prince  Eric's  voice,  making  a  ges- 
ture, right  hand  supine,  on  "golden  stair,"  letting  the  hand  gradually 
rise  until  you  reach  the  word  "  altar;"  then  after  a  slight  wave  of  the 
hand  on  the  word  "  chapel,"  let  it  drop  on  "  Easter  day"  and  so  finish 
the  stanza. 

(2)  Do  not  make  the  impersonation  of  Eric  in  line  2,  second  stanza, 
too  pronounced.  Let  the  eyebrow s  rise  significantly  as  you  enunciate 
the  words  "all  the  ladies."  Fill  in  the  ellipsis  after  the  conjunction 
"and"  with  a  negative  movement  of  the  head  and  a  sigh,  nodding 
slightly  and  affirmatively  on  the  words  "became  her  foes."" 

(3)  We  all  know  that  things  that  are  past  and  that  speak  of  antiq- 
uity in  any  form  are  in  the  background;  so  in  the  last  half  of  line::, 
third  stanza,  make  a  right-hand  backward  gesture,  nearly  horizontal 
with  the  shoulder,  and  disclosing  the  back  of  the  hand  at  the  climax. 
Make  your  preparatory  movement  on  "from,"  your  climax  on  "old," 
and  hold  the  gesture  while  you  say  "patrician  race."  Continuing,  let 
the  hand  sweep  gracefully  forward  to  a  point  near  the  forehead,  finish- 
ing with  an  upward  wave  from  the  wrist  on  the  word  "  honor." 

(4)  Have  you  studied  what  the  Delsarte,  and,  consequently,  the 
natural,  attitude  of  reflection  is?  It  is  the  attitude  to  assume  while 
impersonating  Blanche  in  her  soliloquy.  The  right  leg  is  back  and 
strong,  the  knee  straight;  the  left  leg  forward  anil  free,  while  its  knee 
is  bent  and  its  foot  close  to  the  right,  or  foot  behind.  Cross  the  bod: 
with  left  arm  at  the  waist-line,  and  concentrate  the  fingers  of  the  left 
hand  about  the  elbow  of  the  right  arm,  which  comes  forward  and  up, 
in  opposition  to  the  right  leg.  Close  the  thumb  and  fingers  of  the 
right  hand,  leaving  the  forefinger  free  and  slightly  drawn  or  curved; 
connect  this  finger  with  the  drooped  head  by  resting  the  chin  or  lips 
upon  it.  There!  do  you  not  feel  like  "reflection?"  This  attitude  is 
not  arbitrary,  and  crossing  of  arm  at  waist  line  not  advised  for  gentle- 
men. Let  the  arms  fall  apart  and  Touch  the  breast  with  the  right  hand 
when  you  say  "  m<  dependent."  Make  a  conversational  gesture  of  ein- 
phasis  on  the  word  " coin  *'  by  gently  tapping  the  palm  of  the  left  hand 
with  the  index-finger  of  the  right,  repeating  the  gesture  at  intervals  to 
the  close  of  the  sentence.  Separate  the  hands  on  the  exultant  "Ah, 
ha!"  and  finish  in  a  determined,  self  satisfied  manner. 

(5,  6)  The  easy,  conversational   tone-,   and   also   Eric's   voice  a-  en 
tained  in  fifth  and  sixth  stanzas,  are  readily  attained. 


ORIGINAL  RECITATIONS  AND   LESSON-TALKS.         35 

(7)  In  the  seventh  and  continuing  through  the  eighth  stanza,  we  find 
once  more  an  impersonation  of  the  haughty,  arrogant  Blanche.  It  is 
no  longer  a  soliloquy,  but  a  speech  teeming  with  intensity  and  dra- 
matic fire;  full  of  scorn,  hatred,  sarcasm  and  daring  ambition.  It  is  a 
character  knowing  no  half  moods.  Let  her  speak  to  the  left,  delivering 
her  tirst  two  lines  very  erect,  and  with  a  defiance  born  of  conscious 
power.  The  manner  is  taunting  and  exasperating  in  line  3,  filling  in 
the  long  pause  after  "if  you  do"  with  a  contemptuous,  pitying  shrug 
of  the  shoulders  and  corresponding  facial  expression;  then  add  "  jour 
senses  reel." 

(8)  In  beginning  this  stanza  say  "yes."  with  a  little  wave  of  the 
voice,  which  must  be  light  and  sweetly  scornful  through  the  first  half 
of  the  line,  in  order  to  contrast  strongly  with  the  remaining  words 
to  the  end  of  line  2.  Deliver  these  words  in  a  deep  voice  of  stern  com- 
mand, making  the  pauses  conspicuous,  and  utilizing  them  to  gather 
strength  for  work  to  come.  In  line  3  adopt  once  more  the  light,  pure 
tone  of  voice,  full  of  the  most  tantalizing  coolness  and  sweetness,  using 
extremely  emphatic  slides  and  waves  upon  the  words.  The  last  line  is 
the  most  dramatic  of  the  whole.  It  is  here  that  ambition  leaps  forth 
and  joins  in  mad  revel  with  the  other  emotions.  Still  looking  at  Con- 
Btance,  let  the  laughing  veil  of  sarcasm  drop  as  by  magic  from  the  face; 
the  true  feelings  of  hatred  and  proud,  ambitious  resolution  must  gleam 
there  instead.  Slide  the  left  foot  gently  back,  then  the  right,  turning 
as  though  about  to  depart,  and  rest  your  weight  upon  it.  Now  look 
haughtily  over  the  left  shoulder  at  Constance,  and  sway  back  at  the 
waist  line,  as  you  say  slowly.  "  he  shall  take  me."  The  right  arm  and 
hand  come  gradually  up  during  this,  forming  a  proud  curve,  the  hand 
touching  tin-  breast  as  yon  say  "me;"  fill  in  the  strong  pause  with  a 
long,   deeply  dra vi  n   breath.      Keep  this  pose  while  saying  "for  his 

prince--.'     Oil    the    VFOrds    "1     have   sworn    it,"   let   the   hand    leave   the 

breasl  and  form  a  rigid  curve  above  the  head,  held  there  with  a  strength 
which  will  cause  it  to  tremble  as  you  finish,  "come  what  may." 

(9,  10,  II.  12)  Make  a  lowly  courtesy.  Do  not  use  vehemence  in  this 
Impersonation.  The  character  should  be  pure,  uplifted,  and  perfectly 
poised.  <  >n  the  word  "bondsmaid,"  take  the  attitude  of  humility, 
hand-  at  side,  heels  together,  and  bend  the  body,  retaining  the  pose 
until  the  close  of  the  line,  rising  erect  on  line  8.     Pill  in  the  pause  after 

the    conjunction   "but   "with  a    reverent    upward   glance;   make  an  as 

cending  gesture  on  the  word  "God;"   keep  the  hand   raised  as  If  to 
Invoke  the  miracle.    On  the  phrase  "save  for  her  Prince  Brio's  love," 

let    the    left     hand     follow,    making  a    similar   but    m>i    entirely    parallel 
gesture,  and   sway    forward    with    head    uplifted    and    facial   expression 

prayerful  and  hopeful.    While  reciting  the  prayer,  do  nol  kneel;  facial 


$6  EMMA   DUNNING  BANKS'S 

expression  and  movements  of  the  hand  can  be  made  to  reveal  all  the 

desolation  and  pleading  anguish  of  the  appeal. 

(18)  Throughout  the  first  two  lines  this  stanza  is  bright  and  cheer- 
ful, growing  in  pathos  toward  the  close. 

(14,  15)  In  these  stanzas  we  find  an  imperious  burst  of  command 
from  Blanche,  tinged  with  superstitions  alarm,  for  she  believes  that 
none  save  Constance  can  make  the  lilies  blossom  as  they  should. 

(18)  A  trained  elocutionist  will  make  line  1  of  this  stanza,  very  effec- 
tive; one  not  well  versed  must  be  careful  about  overdoing,  which, 
in  this  instance,  would  produce  a  tedious,  strained  effect.  The  line  was 
written  with  reference  to  tones  required  in  bell-imitations ;  note,  there- 
fore, the  number  of  "  lis,"  vowel-sounds,  and  "  ngs"  in  the  line.  Strike 
heavily  on  the  vowels,  make  the  tone  pulsate  again  and  again  on  the 
"  lis,"  growing  gradually  fainter  and  fainter,  and  prolong  the  phonetic, 
humming  sound  of  the  "  ngs." 

(19)  In  the  last  line  of  this  stanza  you  have  once  more  the  rich,  deep 
voice  of  Eric.  The  remainder  of  the  selection  is  conversational  and 
cheerful. 


GRANDMA  ROBBINS'S  TEMPERANCE  MISSION. 

i. 

OLD  Grandma  Robbins  bent  down  low  and  smoothed  the  curling  hair, 
Then  kissed  the  brow  of  one  who  knelt  in  tears  beside  her  chair. 
'"  What  is  it,  dearie,  can't  you  tell  old  grandma  all  your  fears? 
There,  there,  don't  cry;"  her  own  voice  broke  to  see  the  flood  of  tears, 
And  hear  the  wild,  heart-rending  sobs  burst  forth  from  that  young  wife, 
The  bride  of  grandson  Charlie,  whom  she  loved  more  than  her  life. 

II. 

Her  splendid  boy!  his  generous  heart,  his  loving  glance  and  clear, 
Hifl  manly  ways  enshrined  him  in  her  heart  of  hearts  most  dear. 
And  now  sweet   May  was  weeping  SO;  her  heart  grew  sad  and  chill, 
The  old  voice  faltered  as  she  said,  "  ( )  May,  is  <  iharlie  ill?" 
The  sobs  came  faster,  then  May  spoke:  "Oh,  no.  grandma,  not  SO; 
Indeed,  I  almost  wish  he  were;  far  better  that,  you  know, 

III. 

"Than  see  him  go  down,  step  by  step,  to  fill  a  drunkard's  grave. 
O  grandma,  grandma  '  can't  you  tell  me  some  sure  way  to  save 

Our  Charlie'    This  month  past,  his  staggering  step  and  reeking  breath 
Are  all  I've  had  to  welcome  home,  until  I  longed  for  death. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         37 

The  temperance  meetings  do  much  good,  but  some  men.  don't  you  know, 
You  can't  get  near  them.     Charlie's  one;  I've  coaxed,  but  he  won't  go. 

IV. 
"  He'll  promise,  grandma,  oh,  so  fair,  to  let  the  drink  alone; 
I  fear  he  cannot  help  it.     'Tis  so  sad  to  hear  him  groan 
And  curse  himself  for  being  weak;  I  know  he  means  to  try. 
I've  hid  it  from  you.  grandma,  till  I  had  to  tell  or — die." 
Poor  grandma's  whitened,  silvery  locks  with  May's  i^-old  tresses  blent, 
And  when  she  raised  her  sweet  old  face,  ten  years  o'er  it  seemed  spent. 

V. 
"  Well,  dearie,'''  through  the  patient  voice  a  note  of  sorrow  fell, 
As  when  a  minor  chord  is  struck  in  some  sad,  softened  swell, — 
"Well,  dearie,  when  the  mother  of  our  Charlie  died  I  said, 
'  0  Lord,  why  is  it?'     Now  I  know  and  thank  Him  she  is  dead. 
Perhaps  the  boy  can't  help  it,  for  his  father  was  the  same; 
But  bring  him  here  on  Sunday,  and  we'll  pray  in  Jesus'  name. 

VI. 
"  He  used  to  love  his  grandma,  and  1  know  he  loves  you,  May  ; 
Perhap>  our  prayers  together,  dear,  may  help  him  win  the  day." 
And  thus  our  handsome  Charlie,  who  did  temperance  meetings  scorn, 
Strolled  unsuspecting  into  one  that  pleasant  Sabbath  morn. 

Bis  young  face  saddened,  and  the  tears  were  very  near  his  eve 

When  grandma  said :  "  My  dear,  'liar  boy,  you  know  the  old  must  die. 

VII. 
"My  call  may  come  at  any  time;  and.  dear.  I  want  to  pray 
With  you  to  day,  and  have  you  kneel  down  here  with  me  and  May." 
What  could  he  do  hut  kneel  right  down  and  hear  the  prayer  she  made" 
"  Dear  God  I   forgive  me,  lot-  the  buy  you  in  these  old  anus  laid 

Has  gone  astray.     I  Badly  fear  that  I  am  much  to  blame; 

I  should  ht  re  taught  him,  all  his  lite,  to  dread  the  cup  of  shame. 

\  III. 

I  gave  him  cider,  home  made  wine,   without  a  thought  of  harm; 
And  yet   I   Knew  his  lather  fell  a  victim  to  drink's  charm. 

I  know  I  am  in  fault,  dear  Lord:  oh,  punish  ///*  and  save 
Our  brave,  bright  hoy  from  the  dread  fate  of  a  low  drunkard's  grave. 
And  more  than  this,  I  pray  Thee,  Lord,  make  him  a  Christian,  too ; 
He  cannot  stand  without  Thy  help."    "Amen,"  sighed  May;    "that's 
true. 


1498.' 


38  EMMA   DUNNING  BANKS'S 

IX. 
And  then  May  prayed  witli  fervor,  while  the  (cars  streamed  down  her 

face; 
The  angels  bent  to  listen,  and  God's  glory  Idled  the  place. 
Then  once  again  the  aged  lips  breal  bed  forth  a  t  rambling  prayer, 

And  at  its  close  a  deep  voice  cried.  "  Oh,  dear  God,  do8l  Thou  care 

For  such  a  sinner  as  1  am  V     ( >h,  help  me  to  be  free, 

And  help  me,  for  Thy  dear  Son's  sake,  a  <  'hristian  man  to  be." 

X. 
Oh,  the  rapture  of  thanksgiving!    Oh,  the  tears  of  joy  that  shone 
Upon  those  happy  laces  lifted  upward  to  God's  throne, 
When  Charlie  found  the  only  way  temptation's  snare  to  meet, 
Was  to  kneel  down  very  humbly  at  Christ,  the  Saviour's  feet. 
Now,  if  you  cannot  bring  your  friends  to  temperance  missions  here, 
Why,  have  a  mission  of  your  own,  like  Grandma  Robbins',  dear. 


LESSON-TALK. 

(1)  The  success  of  the  selection  depends  largely  upon  the  emotional 
and  pathetic  power  of  the  one  who  renders  it.  A  softened  and  sad 
dened  mood  is  the  first  requisite;  and  let  this  feeling  modulate  the 
tone  when  uttering  lines  1  and  2.  Now  comes  a  bit  of  impersonation: 
bend  down  a  little,  make  a  gesture  as  of  smoothing  the  hair  of  some 
one,  and  in  a  low  voice,  full  of  tender  sympathy  and  broken  at  last, 
give  Grandma  Robbins's  words.  Finish  the  stanza  conversationally 
and  with  feeling. 

(2,  3,  4)  Make  emphatic  the  adjectives  which  set  forth  Charlie's  char- 
acteristics in  the  first  two  lines  of  the  second  stanza,  and  allow  yourself 
a  gesture  with  the  left  hand  on  the  phrase  "  heart  of  hearts."  We  have 
so  often  spoken  of  words  being  picturesque — please  endeavor  to  color 
the  words  "  sad  and  chill  "  in  .such  a  manner  as  to  produce  that  effect. 
Again,  in  line  4,  we  have  the  sweet,  wavering,  tender  voice  of  the  old 
lady.  Amid  a  hurst  of  half-articulate  sobs  comes  the  voice  of  May,  im- 
passioned, tender,  pitiful  and  rebellious  by  turns,  but  always  tearful. 
Now.  the  gasps,  moans  and  half-uttered  sobs  which  make  up  and  are 
interspersed  between  the  pauses  and  words  framing  the  complaint, 
appeal  and  confession  of  May  are  very  difficult  to  master  and  under- 
stand. You  will  find  your  only  key  in  a  complete  abandonment  to  a 
tearful  and  grief-stricken  mood.  T1k.sc  among  you  who  have  heard 
sad,  heart- weary  sobs  from  souls  crying  out  for  sympathy  will  under- 
stand. If  ymi  are  bright  and  gay,  and  have  never  known  sorrow,  do 
not  despair  at  the  thought  of  rendering  a  selection  of  this  kind,  for  I 
have  heard  it  rendered  by  a  child  of  ten  in  such  a  manner  as  to  bring 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         39 

tears  to  the  eyes  of  her  audience.  These  are  some  of  the  arts  you  must 
employ,  intense,  agonized  facial  expression;  clinching  the  hands  in 
grief,  opening  them  only  to  close  more  tightly;  swaying  of  the  arms 
and  torso  to  and  fro;  frequent  pauses  lilled  in  by  low,  sad  sobbing; 
choking  in  the  throat  and  swallowing,  with  repeated  attempts  to  enun- 
ciate a  word,  resulting  only  in  failure.  The  chest,  of  course,  cannot 
remain  in  the  active  position  during  all  this,  but  will  rise  and  fall  very 
noticeably.  Certain  hesitancies  and  repetitions  of  words  add  to  the 
naturalness  of  personilied  speech,  and  their  judicious  use  is  recom- 
mended. Make  use  of  the  aids  enumerated,  then  let  soul-power  govern 
you,  and  you  will  certainly  affect  your  audience  according  to  the  de- 
gree you  are  affected  yourself. 

(5)  Grandma's  hushed,  troubled  voice  is  suggested  by  the  simile  con- 
tained in  line  2  of  the  fifth  stanza.  Assume,  during  her  lines,  an  atti- 
tude as  though  slightly  bending  over  one  who  kneels  before  you. 
Sway  forward  at  times  more  than  at  other  times,  to  give  ease  to  the 
pose.  Fill  in  the  pause  after  the  conjunction  "and,"  in  line  4,  with  a 
glance,  full  of  reverential  love,  heavenward.  Slight,  conversational 
gestures  are  employed  during  this  speech. 

(6)  In  the  last  line  of  this  stanza  grandma's  hands  are  extended  in 
appeal  and  welcome,  and  voice  and  general  aspect  must  be  in  sym- 
pathy. 

(7)  The  voice  must  be  persuasive  in  the  first  two  lines,  and  a  de- 
scending gesture,  prone  hand,  is  admissible  on  the  words  "kneel  down 
here."1  It  is  in  the  prayer,  however,  that  the  climax  of  emotion  is 
reached.  The  hands  clasp,  then  open,  are  extended  forward  and  up, 
sink  dejectedly,  and  are  very  helpful,  emotive  hands,  indeed.  Learn 
the  words  of  this  prayer,  then  stand  before  the  mirror,  and  do  not 
speak  hut  think  them,  allowing  the  head,  torso  and  limbs  to  evince 
your  emotion  in  pantomime.  By  "  limhs"  I  mean  arms  and  legs.  This 
pantomime  work  I  have  found  most  effective  in  teaching.  The  voice 
becomes  more  and  more  resonant    and   tearfully  strong  as  the  dear  old 

lady  is  more  and  more  inspired  with  the  earnest,  pleading  spirit  char- 
acterizing her  prayerful  wrestle  for  the  Welfare  of  the  boy  she  loves  SO 
much. 

-     The  voice  reaches  its  Climax  Of  emphasis  and  volume   in   the  last 

two  lines  of  the  eighth  stanza  The  softly-breathed  "amen11  uttered 
h_\  Ma>  forms  a  strong  contrast. 

(9)  In  line  2,  in  tin-  Brsi  half  isa  single,  in  the  last  a  double  gesture 
with  arms  upraised  and  hands  above  the  head,  moving  slowly  in  grace 
ful  curvea  In  the  Impersonation  of  the  young  man's  appeal  to 
heaven,  a  deep,  full,  rich  tone  is  desirable. 

(10)  The   last  -tan/a    is   painted    in   el rful   colors.      The   tone  is  up- 


40  EMMA  DUNNING  BANKS'S 

lifted  and  joyful,  the  facial  expression  bright  and  happy.  The  gestures 
necessarily  partake  somewhat  of  this  excitement.  On  line  2  make  an 
ascending  one-arm  gesture,  on  line  4  a  descending  movement.  Raise 
both  hands,  clasp  them  in  an  impassioned  manner,  uplifting  the  eyes 
and  face  when  uttering  "  Christ,  the  Saviour's,  feet."  Finish  by  giving 
the  bit  of  advice  in  the  last  two  lines  pleasingly,  naturally  and  conver- 
sationallv. 


THE   OLD,   OLD  STORY, 
i. 

THERE'S  a  story  told  through  ages,  which  shall  yet  live  ages  more; 
Into  every  land  it  stealeth,  echoing  back  from  shore  to  shore. 
Through  each  Christmas  evening's  starshine,  from  warm  climes  or  over 

snow, 
Floats  the  music,  sung  by  angels,  eighteen  hundred  years  ago. 

II. 

Sung  by  bands  of  snow-winged  angels  to  the  shepherds  on  the  hill, 
Ah!  the  sweetness  of  that  anthem  peals  and  chants  its  grandeur  still. 
Twas  a  song  of  heaven-born  triumph,  and  it  stirs  our  hearts  as  then  ; 
"  To  our  God  be  glory  highest,  peace  on  earth,  good- will  toward  men." 

III. 

Snow  may  heap  our  winter  landscapes,  but  no  snow  was  there  that 

night, 
In  that  glowing  land  of  flowers,  where  the  Christ-child  saw  the  light; 
Spicy  perfumes  from  the  cedars  wafted  o'er  that  manger-bed, 
And  a  radiant,  golden  halo  circled  round  His  infant  head. 

IV. 
With  a  magicdike  enchantment  comes  the  story  of  the  star, 
Rising  bright  in  eastern  Persia,  calling  wise  men  from  afar, 
To  straightway  leave  their  homes  and  follow,  follow  close  its  flittering 

light, 
Till  it  led  them  wondering,  awe-struck,  where  the  Christ -babe  lay  that 

night. 

V. 

Kichc.-t  tn-a-ur«->  of  tin-  Orient,  <rold  and  frankincense  and  myrrh, 
Brought   they   for  tin-   babe   whose  coming   caused  the  world's  great 
heart  to  stir; 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.         41 

And  the}'  bowed  down  low  before  Him,  these  great  wise  men  of  the  east, 
For  they  knew  the  saintly  infant  was  God's  chosen  Son  and  Priest, 

VI. 
Ages  old,  this  dear  sweet  legend,  but  as  new  to-night  as  then, 
For  each  day  some  heart  grown  wiser,  finds  the  Christ  and  cries,  "  amen : " 
And  each  day  some  little  stranger  conies  to  earth-homes  full  of  love, 
And  is  taught  the  wondrous  story  of  our  Saviour  from  above. 

VII. 
Babies,  children,  and  the  grown  folks,  keep  Christ's  birthday  year  by 

year, 
<  Ihristmas  is  a  time  tor  gladness,  mirth  and  merriment  and  cheer: 
Firesides  glow  with  happy  faces,  bright  homes  ring  with  pealing  songs, 
On  the  natal  day  of  Jesus,  who  to  each  and  all  belongs 

VIII. 

J.-viis  was  a  heavenly  baity,  born  to  bless  and  save  the  land, 
Sn  the  angels  told  the  shepherds,  chanting  with  that  heavenly  band, 
Whose  sweet  music  floats  down  to  us,  charming  one  and  all  as  then-. 
"To  our  God  be  glory  highest,  peace  on  earth,  good-will  toward  men." 


LESS<).\    TALK. 

di  Using  a  full,  soft,  deep  voice,  begin  the  selection  easily  and  nat- 
urally. ()n  the  word  "ages"  in  line  I,  give  a  backward,  prone  gesture 
and  a  quick  glance  backward,  merely  to  precede  the  gesture,  returning 
the  glance  forward  immediately.  Make  a  forward  supine,  slightly  as- 
cending movement,  to  illustrate  the  ages  yet  to  come.  Combine  these 
gestures;  do  not  let  the  hand  drop  between  them.  In  line  2,  as  you 
echoing  back  from  Bhore  to  Bhore,"  there  will  he  a  barely  percep- 
tible listening  inclination  of  the  head  from  side  to  side,  if  you  .ire  m 
sympathy  with  the  Bentimeni  expressed.  During  the  las!  line,  make 
an  ascending  gesture,  turning  the  hand  gracefully  in  a  prone  move 
incut  backward,  to  express  "  eighteen  hundred  years  ago." 

In  line  2  make  the  word  "ah"  long,  thrilling  and  expressive, 
clasping  the  hands  during  utterance.  A  steadied  tremor,  if  the  term 
may  be  allowed,  will  make  the  word  "peal"  picturesque.  Sweetness 
of  tone  characterizes  the  firsl  half  of  the  line,  a  certain  majesty  ruin 
gllng  with  it  in  the  latter  half .  Triumph  is  your  key  word  for  t  he  mood 
predominating  In  line  8.  If  the  lasl  line  be  chanted  by  invisible  voices, 
while  the  speaker  stands  in  a  listening  attitude,  the  eflfecl  it  » ery  pleas- 
ing. If  this  suggestion  be  not  practicable,  recite  orchanl  it  yourself, 
11  —  111  i_r  _  If  possible,  while  chanting,  deep  contralto  torn 


42  EMMA    DUNNING   HANKS' S 

(3)  Negative  movement  of  head  and  hand  on  the  words  "no  snow." 
A  right-hand  gesture  of  location  on  the  word"land"in  line  2.  A 
floating  motion  on  the  word  "  wafted,"  combined  with  a  circling  move- 
ment above  the  head  on  the  words  "golden  halo,"  will  finish  this  stanza. 

1 I)  Moods  are  subtle  things;  but  when  1  say,  speak  as  though  feeling 
the  glow  of  that  "magic-like  enchantment,"  I  know  I  shall  be  under- 
stood by  the  intelligent  majority.  On  line  :5  make  a  backward  gesture 
to  the  left,  to  locate  the  homes  of  the  wise  men.  Let  the  right  hand 
ascend  and  point  to  the  left,  and,  as  the  speech  progresses,  move  slowly 
across  the  front  to  the  right,  as  though  led  by  the  glittering  path  of 
the  star.  A  pause  after  "  wondering,"  in  last  line,  and  slight  movement 
of  the  hand  to  make  it  vertical  upon  the  wrist,  and  recoil  of  the  body  in 
sympathy,  will  illustrate  the  word  "awestruck;"  then,  and  not  until 
then,  let  the  hand  drop  from  the  ascendant. 

(5)  Conversational,  descriptive  tones  begin  this  stanza.  During  last 
half  of  line  2,  bring  i>oth  hands  together  preparatory  to  throwing  them 
Widely  apart  Oil  the  words  "  world's  great  heart." 

((!,  7)  A  tender  seriousness  predominates  during  the  sixth  stanza,  and 
a  glad  excitement  through  the  seventh. 

(8)  An  ascending  gesture  during  last  half  of  line  2,  combined  with 
graceful  downward  movement  toward  the  head,  on  the  phrase  "  floats 
down  to  us,"  and  ending  in  a  listening  attitude,  with  hand  some  dis- 
tance back  of  ear,  head  bent  forward  in  sympathy  while  yourself  chant- 
ing or  listening  to  chanting  of  the  last  line,  will  close  the  selection. 


KITTENS   AND   BABIES. 

TWO  kittens  there  were,  a  black  and  a  gray,  and  grandmamma  said 
with  a  frown  : 
'  'Don't   cry,  litfle  Bess,  we  can't    keep  both;  the  black  one  we'd  better 
drown." 

The  morrow  dawned,  and  rosy  and  sweet  came  little  Hess  from  her  nap. 
The  nurse  said,  "  Go  into  mamma's  room  and  look  in  grandma's  lap." 
"  Com.-  here."'  said  grandmamma,  with  a  smile,  from  the  rocking-chair 
where  she  sat; 

"tome  seethe  twin  sisters  God  has  sent;  now,  what  do  you  think  of 
that:"' 

Bess  looked  at  the  babies  a  moment,  touched  the  wee  heads,  golden 

and  brown  ; 
Then  looking  at  grandmamma  Boberly  said  ; 
"Which  "in  a/-'  you  going  in  drovmV 

Lizzie  M.  Hadley. 


ORIGINAL  RECITATIONS  AND   LESSON-TALKS.         43 


MEIN   KATRINE'S  BRUDDER  HANS. 
1. 

MEIN  shveetheardt  haf  von  brudcler  Hans,  von  vicked  leedle  poy. 
Py  Shinks !     I  vish  me  dot  his  folks  vould  make  heem  some  em- 
ploy ; 
Gif  heem  some  shobs  or  somedings  else;  fill  heem  mit  vork,  I  mean, 
He  make  me  alvays  shudder  so,  ven  e'er  I  courdt  Katrine. 

II. 

Katrine  she  vash  hees  seester  nice;  Hans  say,  I  vash  her  beau; 
He  shumps  oudt  ven  I  kiss  Katrine,  and  call  it  "  von  big  show." 
I  hundt  heem  under  table  legs;  he  hide  heem  back  of  chair, 
Den  bush  it  su  I  tumble  down,  und  den  he  bulls  mein  hair. 

III. 

Von  tay  he  dakes  der  glue-pot  down  und  paste  all  up  der  chair; 
I  sits  me  down — I  naifer  knew  how  long  I  must  shtay  dere. 
Katrine,  she  vants  her  soam  ice-cream,  I  say;  "  Yell,  ve  vill  go." 
I  start,  but  oh — I  get  not  up.     Hans  make  anudder  "  show." 

IV. 
Py  grashious!  dot  chair  stocks  mit  me,  und  dance  me  roundt  der  room; 
Den  Katrine  tries  to  knock  it  off,  righdt  off  me,  mit  a  broom. 
I  yell.  "Holdton!  dondt  poke  so  hardt,  doi  hurdts  me  like  der  dooce  I " 

Han-  lafl  und  say:  "  Yust  soak  it  off,  hot  vater  make  dot  loose." 

V. 
Hans  run  und  bring  dot  vater  quvick,  und  pour  it  on  der  chair; 
I'nd  d.'ii  heem  run.      I  vash  so  mad,  I  make  heem  awful  shcare. 
l>ot  chair  dondt  move,  ockcep  mit  me,  and  Katrine  laff  und  laff; 
I  speaks  mit  lier:  "  Your  brudder  Hans,  lie  sit  dere  like  von  calf. 

VI. 

"  Yy  dondt  you  clear  dees   room    righdl  oudt,  und  send  heem   mit  mine 

hOUBC 

To  fetch  me  liere  mein  adder  p.indts,  also  mine  udder  blouse." 

i|  oaifer  like  to  blow  much  talk,  I  vhisper  dees  to  you : 

I  > « - 1 1 1  vimnun  folks,  dev  know  not  much,  der  mens  know  vat  to  do.) 

VII. 
Yell,   Elanfl  Ik-  va-h  not   much  more  mean  for  somedimes  after  dot; 
Hut  vni  I  go  to  courdt  Katrine,  I  looks  oudt  \<-re  I  so*. 


44 


KM  MA    DUNNING   BANKS'S 


Vone  nighdt  I  say  to  mine  Katrine:  "  Cooin  sit  down  in  mein  lap." 
Py  grashiousl    De  next  minute,  ve  bodt  vash  in  a  trap. 

VIII. 
Katrine  she  shumps  righdt  down  so  quvick,  I  fall  down  troo  dot  chair; 
1  vash  a  sitting  on  de  floor,  niit  head  nnd  heels  in  air. 
Dot  leedle  poy,  dot  brudder  Hans,  hees  tricks  he  vash  apout: 
He  dook  dot  chair  and  niit  hees  knife  dot  seat  he  cut  some  oudt. 

IX. 

I  doubled  like  von  shack  knife  up,  und  squeezed  dot  chair  tighdt  in; 
My  boots  vash  keeking  mit  my  neck,  it  vash  von  awful  sin. 
Den  Hans  he  eoom  und  laff  und  laff,  und  stand  heem  mit  de  door- 
Of  only  I  dondt  know  'twas  wrong,  I  almost  make  me  svore. 

X. 
I  says:  "  You  smutzig,  hassliek  Hans,  vy  dondt  some  help  you  get? 
You  hear  me  now?     You  shtardt  righdt  off."    Und  den  he  run,  you  bet. 
Hans'  m udder  she  dook  holdt  mein  feet,  und  Hans  he  holdt  mein  head; 
Dey  bulls  and  bulls  until,  py  Shinks,  I  tought  me  I  vash  dead. 

XI. 
I  vash  so  fat,  dot  chair  he  fit  like  paper  on  de  vail; 
Dey  bull  und  tug  und  tear  mein  clothes,  dot  chair  dondt  vent  at  all. 
Und  den  I  says:  "  Let  Hans  dot  shob  coom  finish  mit  his  knife.1' 
He  coom,  but  dees  I  tell  to  you,  I  yust  vash  sheared  for  life. 

XII. 

But  he  dondt  cut  me,  und  I  rise,  und  shpeak  righdt  by  de  door: 
"  Until  mein  Katrine  vash  mein  vife,  I  courdt  her  not  some  more." 
Und  now  vc  long  time  married  been,  mein  house  vash  full  mit  shoy, 
Pecause  I  know  I  can  sit  down,  mitoudt  dot  awful  poy. 


LKSSOX-TALK. 

The  free  use  of  American  slang  is  a  noticeable  feature  in  the  dialect 
of  those  foreigners  who  conic  to  OUT  shores  with  but  limited  means  and 
opportunities  for  the  acquirement  of  a  refined  knowledge  of  our  lan- 
guage.  In  order  to  give  a  faithful  character  sketch,  I  feel  that  I  must, 
in  some  slight  degree,  avail  myself  of  "slang."  As  this  selection  is  more 
particularly  adapted  to  the  use  of  the  "  sterner  sex,"  the  expressions  "  py 
Shinto"  ;nnl  "you  bet"  will  perhaps  be  forgiven  by  those  who  are  in- 
clined to  be  critical.     I  have  endeavored  to  spell  or  ratrker  misspell  in 


ORIGINAL   RECITATIONS  AND  LESSON-TALKS.         45 

such  a  manner  as  to  give  a  fair  idea  of  the  dialect.  In  such  words  as 
"out,"  •don't,"  "make.'-  palter."  "people,"  pronounce  as  follows: 
"ou-ert,"  "do-unt,"  "may-uck,"  "  bay-er-per,'1  "  bee-o-ple,"  and  soon, 
pronouncing,  you  will  observe,  as  though  There  were  more  syllables.  A 
good  Teacher  in  this  matter,  also  close  observation  of  some  German  as 
he  speaks  his  broken  English,  will  afford  the  most  eflieient  aid.  As  for 
gesture,  the  hands  are  almost  constantly  in  motion,  and  often  with  no 
definite  aim.  They  seem  to  want  to  push  out  here,  there  and  every- 
where, to  aid  and  make  clear  the  imperfect  speech.  As  correct  speech 
and  correct  gestures  should  travel  hand  in  hand,  the  use  of  both  incor- 
rectly  serves  to  make  confusion  more  complete. 

(1)  A  gesture  on  line  1,  as  though  designating  the  size  of  the  boy 
"  Hans."  In  line  3  make  the  speech  confused  and  hesitating,  as  though 
not  knowing  how  to  express  what  is  meant.  Let  hands  and  torso  make 
(•"lit used,  meaningless  movements  in  sympathy. 

(2)  Point  to  yourself  with  complacency  and  satisfaction  beaming  in 
every  feature,  as  you  say,  "I  vash  her  beau."  Scowl  during  next  line. 
Endeavor  to  describe  by  pantomime  Hans's  actions,  and  finish  the 
stanza  by  a  scowl  and  a  jerk  of  the  hair. 

(3)  In  line  2.  during  the  pause  (represented  by  a  dash),  raise  both 
hands  and  shake  deprecatingly  several  times,  letting  the  facial  expres- 
sion evince  that  the  misery  of  that  experience  is  almost  re-lived.  Bring 
•  nit  oh."  in  the  last  line,  with  an  agonized  groan,  making  the  pauses 
comically  expressive  of  despair  and  disgust. 

(4)  Raise  the  list  and  bring  it  down  in  air  on  the  word  "knock/' 
During  line  ;;  raise  both  hands,  as  though  t<»  ward  or  push  off  the  per- 
son afflicting  you.  Give  the  impersonation  of  Hans  in  an  exceedingly 
disgusted  manner. 

B)  During  these  stanzas  you  must  be  a  very  angry  Dutchman  in- 

d I.      While  quoting   his  own   speeches,  lie  is  much   inflated  and   im 

portant.  The  last  line  of  the  sixth  stanza  is  confidential  and  somewhat 
aspirated,  tapping  the  breasl  on  1  lie  words,  "der  mens." 

(?i  Be  easy  and  cool  of  speech  until  the  last  line,  when  excitement 
and  confusion  of  voice  and  movemenl  once  more  prevail. 

(H)  On  the  words  " shumps righdl  down."  raise  both  hands  in  air  and 
let  them  come  down  Buddenlywith  a  prone  movement;  the  climax  of 
tin-  gesture  i-  about  midway  down  the  torso.  Continue  the  motion 
i>>  pushing  both  hands  decidedly  out  and  downward  as  yousay"troo 
der  chair.'1  An  awkward  downward  poke  of  the  forefinger  of  the  lefl 
hand  will  describe  "sitting  on  der  floor,"  and  a  corresponding  upward 
poke  of  the  righl  forefinger  ma)  finish  the  line.  Rely  on  facial  expres 
■ion  and  emphasis,  Indicative  of  disgust,  for  t  he  remainder. 

(9)  Scowl-,  plenty  of   them,  during  line    1,    tap  the  neck  with    both 


46  EMNA   DUNNING  BANKS'S 

hands  where  the  sense  demands  it,  in  the  next  line.  Point  with  the 
thumb  to  the  right  as  though  Locating  the  door,  to  close  line  3. 

(10)  More  frowns,  more  swelling  witli  a  sense  of  important  power. 
Use  a  gruff  voice,  ami  make  the  commands  comically  domineering. 
Now  drop  all  this,  and  close  line  2  in  a  very  self-satisfied,  egotistical 
manner.  Point  alternately  to  feet  and  head  in  line  :5.  Deliver  last  line 
as  though  in  pain. 

(11,  12)  These  contain  much  the  same  line  of  action -work  as  hereto- 
fore. Finish  the  selection  in  a  happy,  beaming  manner,  as  though  at 
peace  with  yourself  and  all  the  world,  and  good  friends  with  everybody, 
even  "  Katrine's  brudder  Hans." 


THE  STATUE  IN  CLAY. 

6  *  \A  AKFj  me  a  statue,"  said  the  king,  "  of  marble  white  as  snow; 
J  *  1     it  must  be  pure  enough  to  stand  before  my  throne  at  my  right 
hand. 
The  niche  is  waiting — go!  " 

The  sculptor  heard  the  king's  command,  and  went  upon  his  way. 
He  had  no  marble,  but  he  went,  with  willing  hands  and  high  intent, 
To  mold  his  thought  in  clay. 

Day  after  day  he  wrought  in  clay,  but  knew  not  what  he  wrought; 
He  sought  the  help  of  heart  and  brain,  but  could  not  make  the  riddle 

plain : 
It  lay  beyond  his  thought. 

To-day  the  statue  seemed  to  grow,  to-morrow  it  stood  still; 
The  third  day  all  was  well  again.     Thus,  year  by  year,  in  joy  and  pain, 
He  wrought  his  master's  will. 

At  last  his  life-long  work  was  done;  it  was  a  happy  day. 

He  took  his  statue  to  the  king,  tint  trembled  like  a  guilty  thing, 

Because  it  was  but  clay. 

"  Where  is  my  statue?"  asked  the  king.    "  Here,  Lord,"  the  sculptor  said. 

"But  I  commanded  marble."    "True,  but  lacking  that,  what  could  I  do 

But  mold  in  clay  instead.'"' 

"  Thou  shalt  not  unrewarded  go,  since  thou  hast  done  thy  best; 

Tliy  statue  shall  acceptance  win,  it  shall  be  as  it  should  have  been, 

For  I  will  do  the  rest." 

He  touched  The  statue  and  it  changed  ;  the  clay  falls  off,  and  lo! 

A  marble  shape  before  him  stands,  the  perfect  work  of  heavenly  hands, 

An  angel  pure  as  snow' 


ORIGIXAL   RECITATIONS  AND   LESSON-TALKS.         47 


FLYING  JIM'S  LAST  LEAP. 

[The  hero  of  this  Tale  had  been  once  a  trapeze  performer,  much 
famed  for  his  daring  leaps  in  the  circus  ring.  Later  in  life  he  had 
fallen  inTo  evil  ways,  and  was  now  a  fugitive  from  justice,  closely  pur- 
sued by  officers  of  the  law.] 

Scene  First. 

I. 

CHEERIEST  room,  That  morn,  the  kitchen.     Helped  by  Bridget's 
w  tiling  hands. 
Hustled  Hannah,  deftly  mixing  pies,  for  ready- waiting  pans. 
Little  Flossie  flitted  round  them,  and  her  curling,  floating  hair 
(Hinted  gold-like,  gleamed  and  glistened,  in  the  sparkling,  sunlit  air. 

II. 

Her  sweet  face  glowed  like  some  sea-shell  where  the  white  and  rose 

were  blent; 
Seemed  the  child  to  all  who  knew  her,  an^el  gift  from  heaven  sent. 
Slouched  a  figure  o'er  the  lawn,  a  man  so  wretched  and  forlore; 
Tattered,  grim,  so  like  a  beggar,  ne'er  had  trod  that  path  before. 

III. 
Torn  his  clothes;  his  haT  was  gone;  he  hore  all  traces  misery  leaves ; 

Pace  with  blood  and  dirt  disfigured  ;  elbOWS  peered  from  out  his  sleeves. 

Wild  and  hungry,  almost  famished  were  the  glances  that  he  cast 
Through  the  open  vine  wreathed  windows  of  The  kitchen,  as  he  passed. 

IV. 
Rat-tat-tat,  upon  the  entrance,  brought  Aunt  Hannah  to  the  door; 
Parched  lips  humbly  plead  for  water,  as  she  scanned  his  stained  face  o'er. 
Wrathful  came  the  dame's  quick  answer;  made  him  cower,  shame  and 

start 

( >  1 1 1  of  sight,  despairing,  saddened,  hurt  and  angry  to  the  heart. 

V. 
"  Drink!    FouVe  had  enough,  you  rascal.    Paugh  I  the  smell  now  makes 

Die  sick. 
Move,  you  thief!     Leave  now  these  grounds,  sir,  or  our  doe;s  will  help 

you  quick." 
Then  the  man,  with  dragging  footsteps,  hopeless,  wishing  himself  dead, 
Crepl  away  from  sight  of  plenty,  starved  instead  of  being  fed. 

VI. 

Wandered  farther  from  the  mansion,  till  in-  reached  a  purling  brook, 
Babbling,  trilling  broken  music  bj  a  green  and  shady  1 k. 


4$  EMMA   DUNNING  BANKS'S 

Here  sweet  Flossie  found  him  fainting,  in  her  hands  were  food  and 

drink  ; 
Pule,  like  death  lay  he  before  her,  yet  the  child-heart  did  not  shrink. 

VII. 
The  soiled  rags  from  off  his  forehead  she  with  dainty  bands  offstripped, 
In   the  brooklet's  rippling   waters    her   own    lace-trimmed    kerchief 

dipped. 
Then  with  sweet  and  holy  pity,  which  within  her  did  not  daunt, 
Bathed  the  blood  and  grime-stained  visage  of  that  sin-soiled  son  of 

want. 

VIII. 

Wrung  she  then  the  linen  cleanly,  bandaged  up  the  wound  again 
Ere  the  still  eyes  opened  slowly,  white  lips  murmuring:  "Am  I  sane?1' 
"Look,  poor  man,"  the  dear  child  answered,  "see  the  food  and  drink 

I've  brought ; 
You'll  forgive  my  auntie,  won't  you?     'Cause  she  scolded  'fore  she 

thought ! 

IX. 

"  Eat  and  drink,  and  don't  forget  to  thank  our  God  before  you  take." 
Paused  she  mute  and  undecided,  for  deep  sobs  his  form  did  shake 
With  an  avalanche  of  feeling.     Great  round  tears  came  rolling  down 
O'er  a  face  unused  to  showing  aught  except  a  sullen  frown. 

X. 

That  "  our  God  "  unsealed  a  fountain  his  whole  life  had  never  known, 
When  that  little  human  augel  spoke  of  her  God  as  his  own. 

Is  it  'cause  my  auntie  grieved  you?  "  quickly  did  the  wee  one  ask  ; 
"I'll  teach  you  my  little  verse,  then,  'tis  a  holy  Bible  task. 

XI. 

"  It  may  help  you  to  forgive  her; — Love  your  enemies — and  those — 
Who  despitefully  may  use  you; — love  them — whether  friends  or  foes." 
Then  she  glided  from  his  vision;  left  him  prostrate  on  the  ground 
( lonning  o'er  and  o'er  that  lesson,  with  a  grace  to  him  new  found. 

Scene  Second. 

I. 
Sunlight  filtering  through  green  branches  as  they,  wind-waved,  dance 

mid  dip, 
Finds  a  prayer  his  mother  taught  him  trembling  on  his  crime-stained  lip. 
Qist  I    A  step'  an  angry  mutter!  ah!  the  owner  cf  the  place, 
Gentle  Flossie's  haughty  father,  stares  with  anger  in  his  face. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         49 

II. 

"  Thieving  rascal !  you've  my  daughter's  kerchief  bound  upon  your  brow ; 
Off  with  it,  and  cast  it  down  here.     Come!  be  quick  about  it  now. 
What !  you  dare  to  disobey  me?"    Then  he  lashed  him  'cross  the  cheek 
With  a  riding- whip  he  carried ;  struck  him  hard  and  cut  him  deep. 

III. 
Quick  the  tramp  bore  down  upon  him— felled  him— o'er  him  where  he  lay 
Raised  a  knife  to  seek  his  life-blood,  then  there  came  a  thought  to  stay 
All  his  angry,  murd'rous  impulse,  caused  the  knife  to  shudd'ring  fall : 
"  He's  her  father !  love  your  enemies !  'tis  '  our  God '  reigns  over  all !  " 

Scexe  Third. 

I. 
At  midnight,  lambent,  lurid  flames  light  upthesky  with  fiercest  beams, 
Wild  cries,  "  Fire!  fire!"  ring  through  the  air,  and  red  like  blood  each 

flame  now  seems; 
They  faster  grow,  they  higher  throw  weird,  direful  arms  which  ever  lean 
About  the  gray  stone  mansion  old.    Now  roars  the  wind  to  aid  the  scene. 

II. 
The  flames  yet  higher,  wilder  play.  A  shudder  runs  through  all  around — 
Distinctly  as  in  light  of  day.  at  topmost  window  from  the  ground 
Sweet  Flossie  stands,  her  golden  hair  enhaloed  now  by  1 1  re  lit  air. 
Load  rang  the  father's  cry :  "OGod;  my  child!  my  child!  will  no  one 
dare 

III. 
1'iir  tier  sweet  ^;ike  ihat  flaming  stair?"     Look!     One  steps  forth  with 
muffled  face, 
Leaps  through  tin-  flames.    With  light,  quick  step  on  weakened  ladder 

runs  a  race 
With  life  and  death, — the  window  gains.     Deep  silence  reigns  o'er  .ill 

around 
Till  burets  aloud  a  sobbing  wail     the  [adder  falls  with  crashing  sound. 

IV. 
A  crackling,  treacherous  m;'ss.     High  Leap  the  flames  to  light  a  double 

grave. 
Thin  some  one  -  <  ►  t .  -       Dear  God  I  ton  young  was  she  to  die,  and  he  too 

br.iv  '■." 

Look  once  again.    See'  Bee!    On  highest  roof  he  stands,  the  fiery  wave 
Pierce  rolling  round    his  arms  enclasp  the  child  I  God  help  him  yet  to 
save, 

4 


50  EMMA    DUNNING   BANKS'S 

Scene  Fourth. 

I. 
"  Tor  life  or  for  eternal  sleep," 
He  cries;  then  makes  a  vaulting  leap, 
A  tree  branch  catches  with  sure  aim, 
And  by  the  act  proclaims  bis  Dame. 
As  slow  he  lowers  him  down  with  care 
His  lips  once  more  breathe  "  mother's  prayer." 

II. 

The  ;iir  is  rent.     The  cheers  ring  loud. 
A  rough  voice  shouts,  from  out  the  crowd, 
"Huzzahl  my  boys,  well  we  know  him; 
None  dare  that  leap  but  '  Flying  Jim."' 
A  jail-bird,  outlaw,  thief  indeed! 
Vet  o'er  them  all  takes  kingly  lead. 

III. 
His  face  exposed— his  muffler  long 
Now  tied  the  child  to  him  right  strong, 
The  folds  that  hid  her  face  unbound, 
He  stooped  and  placed  her  on  the  ground. 

"  Do— now — your— worst,"  his  gasping  cry. 

"  Bo  all— your  worst,— I'm— doomed— to  die. 

IV. 
"  I've— breathed— the  flames— it— can't— last— long." 

Then  hushed  all  murmurs  through  the  throng; 
With  reverent  hands  they  bore  him  where 
The  summer  evening's  cooling  air 
Came  soft  I v  sighing  through  the  trees. 
The  child's  proud  father  on  his  knees 

V. 
Forgiveness  sought  of  Clod  and  Jim, 
Which  dying  lips  accorded  him. 

A  mark  of  whip  on  white  face  broke 
To -learning  scarlet,  as  .Jim  spoke. 
"  Forgive— them  all,  who— use— you— ill; 
She  taught  me  that,  and— I— ful— fil. 

VI. 
"  I  wish    her  hand    might-  touch  my  face, 
But  she's  so    pure, — and — ]    so    base." 


ORIGINAL   RECITATIONS  AND  LESSON-TALKS.         51 

Low  Flossie  bent,  and  kissed  his  brow 
With  smile  of  bliss  transfigured  now. 
Death,  the  angel,  sealed  it  there; 
Twas  sent  to  God,  with  "  mother's  prayer." 


LESSON-TALK. 
Render  the  prose  paragraph   conversationally  and  naturally  and, 
with  DO  apparent  change  of  tone,  or  rather  pitch,  commence  the  lines 
of  the  selection. 

(1)  Make  little,  quick  motions  with  the  fingers  of  both  hands  to 
designate  Hannah  "deftly  mixing  pies.1'  While  reciting  the  last  line, 
let  every  word  leave  the  lips  in  a  crisp,  bright  manner,  for  they  express 
gleaming  and  sparkling  qualities,  and  must  be  spoken  accordingly. 

(2)  Admiration  must  color  line  1,  and  tender  reverence  enter  into 
the  next,  with  an  ascending,  right-hand,  front  gesture  on  the  last  half 
of  the  line.  In  the  remaining  half  of  the  stanza,  the  tones  are  changed, 
and  all  is  dark  and  sombre.  Let  the  weight  come  forward  on  the  right 
foot,  head  in  sympathy.  The  right  hand  must  glide  forward  and  up 
until  it  shades  the  eye;  the  left  hand  will  be  in  opposition,  taking  a 
direction  slightly  backward  and  descending.  Hold  this  position,  while 
Baying,  " slouched  a  figure  o'er  the  lawn;"  then  let  the  hand  slowly 
Leave  the  eyes  and  poinl  out  the  man,  whom  you  must  endeavor  to  see 
plainly,  through  your  mental  vision. 

Uternately  watch,  poinl  out.  and  describe  the  man. 

ili  Bring  out  the  syllables  "rat-tat-tat"  in  such  a  manner  as  to  sug- 
gest strongly  a  rap  upon  the  door.  Infuse  into  the  remaining  lines  all 
the  tender  sympathy  tlie  lines  will  admit  of,  Letting  the  frame  shrink  as 
though  involuntarily  while  describing  1  he  corresponding  aci  ion,  placing 
the  |ett  hand  upon  the  hear!  to  close  the  action-work  of  the  stanza. 

(.">)  Use  a  disagreeable,  sharp,  falsetto  voice,  turn  the  head  to  the  left 
as  though  disgusted,  and  make  ;i  spurning  motion  to  the  right  on  the 
words,  "Faugh!  The  smell  now  makes  me  sick."  Use  an  extremely 
Impatient,  domineering  tone  in  the  delivery  of  the  next  Line.  Throw 
both  hands  Bupinely  forward  and  out,  to  describe  "  plenty;"  turn  them 
pronely  on  the  words  "  iii  place.'1 

esture  to  the  right  while  describing  the  man's  wander' 
Log,  and  the  brook.     The  voice  should  be  soft  and  sweet,  in  sympathy 

with  the  broken   music  of  the  brook.     Make  ;i   righl  hand,  pr le 

Mending  gesture  <>n  the  word  "  laj  '  in  the  lasi  line. 

This  stanza  consists  of  simple  description,  depending  upon  sym- 
pathetic feeling  within  for  effect.    Tl nly  gestures  permissible  are 

those  of  location,  t<>  designate  the  brooh  and  the  man  Lying  on  the 
ground. 


52  EMMA   DUNNING   BANKS'S 

(8)  On  the  words  "am  I  Bane"  let  the  tone  be  half  aspirate  and  half 
v.xal.    The  words  must  struggle  faintly  forth.    In  the  impersonation 

of  Flossie  use  sweet,  high,  childish  tones.  Make  her  very  young,  not 
more  than  four  or  live  years  of  age,  and  deliver  the  lines  in  a  coaxing, 
tender  tone  of  voice. 

(9)  While  repeating  this  line,  turn  as  though  about  to  depart,  and 
make  an  ascending  gesture  while  speaking  of  the  Deity.  A  faster  rate 
and  an  intensity  evincive  of  great  feeling  marks  the  descriptive  element. 

(10)  On  line  2  make  alternate  gestures,  ascending  and  descending, 
first  with  left  and  then  with  right  hand,  on  the  words  "her  God"  and 
also  on  "  his  own."  The  last-mentioned  gesture  should  be  prone.  Then 
comes  again  the  impersonation  of  the  little  one. 

(11)  During  Flossie's  repetition  of  the  "  Bible  task,"  make  use  of  the 
forefinger  of  the  right  hand  in  what  is  called  "  the  teacher's"  or  defini- 
tive gesture.  Repeat  the  words  "  love  your  enemies"  in  sweet,  childish 
accents;  then  let  the  deep  voice  of  the  man,  hoarse  and  broken  with 
emotion,  take  np  the  same  slowly  and  wonderingly.  Take  the  next 
two  words  "  and  those"  in  the  same  manner.  Let  the  little  teacher  re- 
peat each  time  as  far  as  the  dash,  and  then  her  strange  pupil  must 
take  the  words  after  her.  This  bit  of  work  is  very  pretty  and  effective. 
Separate  the  two  characters  by  moving  the  head  obliquely  to  right  and 
left. 

Pause  before  beginning  the  work  of 

Scene  Second. 

(1)  Step  slightly  forward  with  face  uplifted  and  hand  upraised,  as 
though  just  discerning  the  "sunlight."  Finish  with  a  rounded,  curv- 
ing movement  on  the  remaining  words  of  the  line,  the  torso  swaying 
gently  in  sympathy.  A  movement  suggestive  of  a  colossal  figure  8 
lyiug  upon  its  side,  thus  ao,  would  be  graceful  and  suggestive.  The 
aspiration  of  the  voice  and  the  listening  attitude,  with  which  line:! 
begins,  will  suggest  themselves,  as  will  also  the  facial  expression  and 
action-work  necessary  to  disclose  to  the  audience  what  the  ear  imagines 
itself  to  hear,  and  the  eye  to  see. 

(2)  Deep,  haughty,  arrogant  voice;   quick,  impatient,   imperative 

gestures  for  this  character,  and  fast,  intense,  emphatic  utterance  dur- 
ing the  description. 

(3)  illustrate  by  action  the  manner  in  which  the  tramp  felled  the 
father,  making  a  quick,  double,  prone  gesture  to  the  left;  the  body 
stoops  obliquely  in  that  direction,  the  right  leg  forward  and  knee  very 
much  bent.  This  attitude  must  be  strongly  dramatic.  Now,  make  a 
quick  movement  of  the  hand  from  belt,  as  though  drawing  a  knife  and 
raise  it  high  above  the  head  to  gain  force,  for  the  terrible  blow.     Every 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         53 

nerve  must  be  tense  as  though  strung  with  steel,  and  so  much  strength 
and  energy  put  into  it  that  the  body  and  hand  must  tremble.  The 
facial  expression  is  suggestive  of  savage,  relentless  purpose, — all  this 
during  the  tirst  line  and  a  half.  Then  gradually  let  the  nerves  and 
muscles  relax;  if  you  have  made  this  sufficiently  strong,  you  will  feel  a 
corresponding  weakness  and  reaction  come  over  you.  Imagine  the 
knife  to  drop,  and  slowly  assume  an  upright  pose.  Both  hands  should 
rise  tremblingly  to  heaven,  while  in  broken  accents  the  words  of  the 
last  line  are  delivered.     Pause  between  the  scenes. 

Scene  Third. 

(1)  Picture  the  lighted  sky  by  an  ascending  gesture  and  face  up- 
turned. Listen,  with  hand  to  ear,  while  the  voice  peals  and  rings  out 
in  the  cries  of  "  fire."  Point  again  to  the  sky,  and  then,  using  explosive 
force,  explode  each  word,  commencing  with"  red  like  blood,"  to  the  end 
of  the  line. 

Hush  the  voice  to  low,  despairing  accents,  while  describing 
Flossie's  danger.  The  outstretched  arms,  and  imploring,  agonized  cry 
of  the  father  need  no  comment,  save  to  suggest  that  there  be  a  move- 
ment indicative  of  looking  wildly  from  one  to  another  of  the  crowd  for 
help. 

l'i\  the  gaze  as  though  scanning  the  crowd  in  front,  then  say: 
"Look!  one  steps  forth  with  muffled  face!"  Make  a  swift  gesture  to 
the  right  on  the  words  "  leaps  through  The  flames."  Watch  and  describe 
wh.it  follows  with  intense  interest.  Lower  The  voice  during  the  closing 
sentence  of  line  3,  using  a  prone  front  gesture,  neither  high  nor  low, 
while  describing  silence.  Make  the  words  "  burst  "  and  "  sobbing  wail " 
very  picturesque,  clasping  the  hands  despairingly.  Shudder  and  shrink 
back,  as  the  ladder  falls.  Enunciate  the  word  "crashing,"  and  also  in 
The  fourth  Btanza  the  word  "  crackling,"  in  a  harsh  voice,  to  make  them 
picturesque. 

(4)  On  the  words  " high  leap "  make  an  ascending  gesture.  After  the 
conjunction  "  and.'"  lill  in  t  he  pause  by  a  vertical  gesture  to  the  right  as 
though  pushing  BOmething  away,  at  the  same  time  turning  the  head 
in  opposition,  as  though  the  sight  was  too  much  to  hear.  Clasp  the 
bands  high,  uplift  the  face  with  an  expression  of  agony,  during  line 

•J.  Move  the  head  slowly  to  the  right,  as  though  impelled,  yet  dread- 
in-  to  do  so.    Then  i.t    tin-  voice   ring  out  in   high   tones  of  joyful 

ezcitemenl  on  the  words  "Sec'  see'"    and  the  words   following.      Clasp 

again  the  hands  and  turn  the  head,  making  the  words  "God  help  him 
yet  to  save  "an  intense,  prayerful,  agonized  appeal. 


54  EMMA    DUNNING  BANKS'S 

Scene  Fourth. 

(1)  Ring  forth  this  cry,  as  though  imitating  the  man  in  his  excite- 
ment, pointing  him  out  on  the  words  "  he  cries."  The  gestures  consist 
of  swift  passages  of  the  hand  and  arm  in  upward  air. 

(2)  The  voice  of  the  man  shouting  from  the  crowd  must  be  rough 
and  full  of  exultant  glee,  at  discovering  the  whereabouts  of  the  escaped 
prisoner.  Oil  the  words  "jail  bird,"  "outlaw, "  put  the  hand  out  su- 
pinely, as  though  showing  or  granting  the  point,  then  make  the  hand 
prone  and  use  a  descending  movement  on  the  words  "thief  indeed." 
Lei  the  hand  and  arm  circle  proudly  overheard,  to  show  that  he  took 
"  kingly  lead." 

(3,  4,  5,  6)  The  gasping,  choking  utterances  constitute  the  difficulty 
of  impersonation  in  these  stanzas.  Half-closed  eyes,  and  clutching 
motions  at  the  throat  and  breast,  as  though  struggling  for  breath  and 
air,  will  be  found  effective;  also  staggering  movements  backward. 
Very  artistic  "work  is  required  at  this  point,  as  it  is  the  climax  of  the 
pathetic  work  of  the  selection;  and  let  me  enjoin  the  utmost  care  in 
the  rendition  of  the  words  of  the  dying  man.  A  descending  prone 
gesture,  slow  and  quiet  on  the  words  "sealed  it  there,"  and  an  ascend 
ing  movement  equally  slow  on  the  words  "sent  to  God,v  finish  the 
action-work  of  the  selection. 


THE  FUNNY  STORY. 

IT  was  such  a  funny  story,  I  wish  you  could  have  heard  it, 
For  it  set  us  all  to  laughing,  from  the  little  to  the  big. 
I'd  really  like  to  tell  it,  but  1  don't  know  how  to  word  it, 
Though  it  traveled  to  the  music  of  a  very  lively  jig. 
If  Sally  just  began  it.  then  Matilda  Jane  would  giggle, 
And  Mehitable  and  Susan  try  their  very  broadest  grin; 
And  tin'  baby,  Zachariah,  on  his  mother's  lap  would  wriggle 
And  add  a  lusty  chorus  to  a  very  merry  din. 

It  was  such  a  funny  story,  with  a  cheery  snap  and  crackle. 

And  Sally — she  could  tell  it  with  so  much  dramatic  art 

That  the  chickens  in  the  door-yard  would  begin  their  cackle,  cackle. 

cackle,    cackle, 
A-  if  in  Midi  a  frolic  they  were  anxious  to  take  part. 
Hut  Sally  she  could  tell  it  looking  at  you  so  demurely, 
With  a  wroe-begone expression  that  no  actress  would  despise, 
That,  if  you  had  oever  heard  it,  why  you'd  imagine  surely, 

Vou'il  need  your  pocket  handkerchief  to  wipe  your  weeping  eyes. 

It  was  all  about  a— ha,  ha,  ha.  ha.  and  a — ho.  ho.  ho,  ho! 
Well,  really — he,  he.  lie.  he!  1  never  could  begin  to  tell  you  half 
Tin-  nonsense  there  was  in  it,  for  I  just  remember  clearly, 

It  began  with      ha,  ha.  ha.  ha.  and  ended  with  a  laugh. 

Joseph] ne  Pollard. 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.         55 


HOW  CONGRESS  FOUGHT  FOR  SHERIDAN. 

1. 

OLD  Winchester  and  "  Little  Phil,''  our  Sheridan's  glorious  ride, 
Will  long,  long  be  remembered;  and  ever  with  patriot  pride 
Will  swell  the  hearts  of  soldiers;  brave  heroes  yet  unborn 
Will  rise  and  call  him  grand,  indeed,  for  that  fierce  battle  morn, 
Like  meteor  glancing  quick  through  space,  or  lightning's  flash  through 

night, 
"  Dare-devil  Phil,"  and  wild  black  horse,  as  pictured  in  that  fight. 

II. 
For  many  weeks  this  soldier  grand  a  fiercer  battle  fought; 
The  courage  and  relentless  will  with  which  his  spurs  were  bought 
Were  still  his  own.     The  foe  was  Death,  remorseless,  grim  and  sure, 
A  foeman  who  each  fight  must  win  with  high,  low,  rich  or  poor. 
The  first  morn  of  a  fair  June  month  dawned  fresh  and  clear  and  bright, 
Upon  a  bed  of  restless  pain  our  general  tossed  all  night. 

III. 
Those  watching  how  he  fought  with  Death,  so  bravely  down  life's  hill, 
Thought  sometimes  he  had  reached  the  foot,  he  lay  so  weak  and  still; 
When,  suddenly,  he  whispered  low  for  cooling  drink ;  a  glass 
Into  the  feverish  lips  was  held  ;  lie  drank — "  Oh,  did  it  pass?" 
lb-  -aid.  they  bent  low  down  to  catch  the  words,  "  my  bill — you  know — 
It  passed     the  IIousi — oh— did  it  not?"     They  sadly  answered,  "No." 

IV. 
lb-  -auk  upon  the  couch  again,  trust  mirrored  on  his  face; 
"  They'll  not  so  Blight  me,  it  will  come,"  he  said  with  patient  grace. 
Dear  hero,  how  you  trusted  all !      Twere  everlasting  shame 
[f  e'er  oar  nation  had  refused  your  great,  undying  name 

The  place  which  friends  demanded  it  upon  the  roll  of  fame, 
A      general  of  the  army,"  "  fearless  and  void  of  blame." 

V. 

Beneath  the  capitol's  glistening  dome,  but  t  wo  short  miles  away, 

Excited  patriots  worked  to  win  a  well  earned  wreath  of  bay 

To  hind  a  dying  hero's  brow,     A  nation  hung  its  head, 

When  thro'  the  world,  that  bright  June  day,  disgraceful  word  was  sped 

That  bo refused    refused  outright  the  passage  of  tin1  hill 

\\  hich  gave  the  soldier's  rank  supreme  to  brave  "  dare  devil  Phil." 


56  EMMA   DUNNING   BANKS'S 

VI. 
Spinola,  general,  old  and  gray,  cried  loudly  for  consent, 
Hut  one  uprose,  with  southern  brow,  in  opposition  bent. 
From  members  of  the  House  rang  out  tb  eery  of  "Shame!  shame!  shame! 

All  sides  should  stand  united  now  to  honor  Sheridan's  name!" 

Then  Mills,  although  a  democrat  and  leader  of  his  side, 

Walked  down  the  aisle,  waved  Sheridan's  hill,  and,  as  he  waved  it,  cried-. 

VII. 
"  In  name  of  southern  soldiers,  some  are  dead,  some  living  still, 
Confederate  hoys,  I,  in  their  name,  ask  passage  of  tins  1  > i  1 1 ! " "" 
Enthusiasm,  patriot  lire,  rekindled  at  his  speech; 
Pride  was  forgotten;  haughty  tongues  learned  humbly  to  beseech 
That  all  objections  he  withdrawn,  so  that  tins  precious  bill 
Might  come  before  the  House— might  pass  with  one  unanimous  will. 

VIII. 
'Twas  all  in  vain.     The  "  yeas  "  and  "  nays  "  on  other  motions  called 
Brought  naught  but  sullen  silence  forth;  all  sat  as  if  enthralled 
So  bitter  was  the  anger  felt.     A  son  of  Illinois, 
One  Mason,  answered  to  his  name :  "  I  speak  not  to  annoy, 
Hut  never  will  I  vote  again  while  Sheridan  draws  hreath, 
Unless  this  bill — which  infamous  repulse  encountereth, 

IX. 
"  Encountereth  to  our  shame — I  say,  unless  this  bill  is  passed, 

On  any  hill,  while  Sheridan  lives,  my  vote  shall  not  he  cast!" 

<  )h,  western  State  so  fair  and  free!  oh,  blessed  Illinois! 

You  sent  a  mnn  unto  the  House,  pure  gold  without  alloy. 

Though  history  ne'er  repeats  his  name,  these  words  of  his  should  last, 

And  patriot  hearts,  for  sake  of  "  Phil,*'  stand  by  him  to  the  last. 

X. 

Just  then  a  telegram  came  in.     One  of  Nebraska's  men 

Rose  up  to  read  how  Sheridan  had  asked  that  morn  again 

About  the  bill,  and" shame  1  shame!  shame!"  was  thundered  out  once 

more; 
Hisses  there  were,  and  wild,  fierce  shouts  that  shook  the  very  floor; 
Stern  men  rebelled,  the  first  demand  tor  "  y<  -as  "and  "nays  "withdrawn, 
An  acclamation  vote  was  called.     Terrific  in  their  scorn, 

XI. 

The  "  yeas"  rang  to  the  vaulted  roof,  quite  drowning  two  faint  "nays." 
So  fought  til.-  House  for  Sheridan,  and  won,  that  day  of  days! 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         57 

The  paper,  signed  by  Cleveland,  in  Hawley's  hand  was  placed; 
His  spirited  steeds  stood  at  the  door — he  cracked  his  whip,  they  raced 
And  madly  dashed  adown  the  street;  before  each  flying  horse 
The  people  scattered  here  and  there,  to  'scape  their  furious  course. 

XII. 

At  Sheridan's  their  gallop  ceased.     The  paper  yielded  there, 

Our  hero's  brother,  wild  with  joy,  ran  with  it  up  the  stair. 

"  Dear  General  Phil,"  he  faltered  out,  "  your  commission  now  is  here;' 

Then  handed  him  <  'olumbia's  proof  of  how  she  held  him  dear. 

"  Dare-devil  Phil  "  was  raised  in  bed,  while  tears  ran  down  his  cheek, 

He  slowly  read  the  paper  through,  sank  sobbing  back  and  weak. 

XIII. 
That  loving  proof  of  battle  won  had  made  the  soldier  weep; 
With  both  hands  round  it  tightly  clasped,  he,  childlike,  sink  to  sleep, 
Refreshened  when  he  woke,  he  signed  acceptance  to  the  call 
By  which  a  grateful  nation  made  him  general  overall. 
<  »nr  "  general  of  the  army's"  dead  ;  brave,  gallant  "  Little  Phil," 
Ever  in  battle  at  the  front,  in  memory,  keep  there  still. 

XIV. 
Buchanan  Read's  "hurrah,"  rang  out  in  Sheridan's  famous  ride, 
Our  hero  great  has  passed  away,  long  may  his  name  abide — 
Abide  in  every  patriot  heart,  engraved  on  roll  of  fame. 
Let  generations  yel  unborn  revere  Phil  Sheridan's  name, 
Ami  teach  it  lo  their  little  ones;  let  every  mother's  son 
Still  shout,  "  Hurrah  for  Sheridan  and  all  his  battles  won." 


LESSON-TALK. 

The  incident   upon  which    this   recitation    is  founded,  the  passage  o* 

the  bill  which   made  Sheridan   general  of  the  army,  is  too  well   known 

t<.  nee  l  more  than  a  tew  mi  roductory  words  to  bring  it  to  the  reader's 

mind.     The  character  of  the  selection  is  purely  historical,  and  national 

•  II.      The    voice   should    he    full    and    strong,    except    where  strong 

sympathy  and  the  sick  man-  words  require  that  it  should  be  lowered. 
The  mood  throughout  Is  spirited  and  highly  patriotic,  and  all  the  thrill- 
ing, earnesi  work  depends  on  coiceand  facial  expression,  made  second- 
ary  to  tie-  soul  power  within.  Gesture  ami  action  work  are  merely 
used  a-  aids  in  interpreting  true  feeling,  Voice,  gesture  and  facial  ex- 
pression are,  in  the  hand-  ol  an  artist,  powerful  helps  in  depicting 
moods. 
(l)  "n  line  1,  a  gesture  as  though  locating  the  town  of  Winchester 


58 


KM  MA   DUNNING  BANKS'S 


to  the  right.  During  first  half  of  line  5,  a  quick,  wavy  movement  of 
the  right  hand  and  arm  in  upper  air,  coming  downward  to  the  left  and 
crossing  the  front;  then,  as  yon  say  "  lightning's  flash  thro1  night,"  let 
the  hand,  in  a  flitting,  zigzag  sort  of  way,  retrace  its  upward  movement 
to  the  right. 

(2)  No  gestures  save  those  of  the  head,  with  facial  expression. 

(3)  A  downward  movement  of  right  hand  on  closing  words  of  line 
1.  Prone  gesture  low  down  on  the  word  "foot"  in  line  2.  Let  the 
general  speak  obliquely  to  the  right  in  a  faint  voice,  with  frequent 
pauses.  Speak  to  the  left,  and  make  a  pause  before  the  word  "no," 
filled  in  with  a  negative  shake  of  the  head. 

(4)  Let  a  scornful,  combined  with  a  sympathetic,  element  strongly 
color  the  voice  while  uttering  the  words  "'twere  everlasting  shame," 
also  the  words  following  in  the  next  line. 

(5)  Designate  the  capitol  by  a  left-hand  gesture.  Make  a  wide, 
double  gesture,  hands  coming  swiftly  together  and  then  separating  on 
the  word  "  nation."  The  head  droops  in  sympathy  with  the  sentiment ; 
whole  attitude  expressive  of  humiliation.  A  still  wider  movement  and 
forward  attitude  is  necessary  when  saying  "thro'  the  world,"  and  a 
quick  flourish  of  the  right  hand  on  "sped."  This  latter  gesture  should 
be  somewhat  of  an  upward  movement,  from  which  the  hand  should 
come  emphatically  down,  palm  uppermost,  as  though  disclosing  some- 
thing when  saying  "some  refused."  Repeat  this  movement  with  added 
intensity  on  the  words  "refused  outright."  Strong  indignation,  par- 
taking almost  of  the  character  of  fiery  denunciation,  lends  a  vivid  color- 
ing to  the  entire  latter  half  of  this  stanza. 

(6)  Let  the  cries  of  "shame"  ring  out  bold  and  free,  and  continue  this 
voice-quality  through  the  next  line. 

?  The  action-work  for  Mills's  speech  is  found  in  the  last  line  of  the 
sixth  stanza.  Wave  the  imaginary  paper  high,  use  a  strong  voice,  but 
let  it  be  tremulous  with  emotion.  A  bright  glow  of  enthusiasm  per- 
meates this  stanza;  the  words  seem  literally  to  lie  fired  out  by  the  in- 
tensity of  the  feeling  inspired  within. 

(8)  Strong  feeling  and  emphasis  throughout.  On  the  words  "  I  speak 
not  to  annoy,"  let  the  right  arm  extend  forward  with  hand  strongly 
vertical,  that  is,  straight  up  from  the  wrist,  as  if  to  ward  off  all  opposi- 
tion to  his  will.  In  line  5,  on  the  word  "never,"  bring  right  list  down 
on  palm  of  left  hand  with  force  sufficient  to  send  it  flying  upward 
again.  Do  not  let  the  arm  become  inactive  ami  drop  listlessly  to  the 
side;  keep  it  tense.  Clinch  the  lists  on  the  word  " infamous,"  giving, 
at  the  same  time,  an  emphatic  and  indignant  stress  to  the  first  syllable 
of  the  word. 

(9)  Make  the  words  "I  say"  as  solemnly  intense  in  emphasiy  as  an 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         59 

oath,  the  right  hand  and  arm  rising  above  the  head,  and  the  whole 
body  in  sympathetic  nose.  Retain  this  attitude  through  lint-;  2,  making 
the  words  "  any  bill "'  especially  emphatic,  and  waving  hand  still  higher 
on  the  word  "any."  The  strongest  feeling  characterize*  all  of  this 
stanza. 

(10)  Intense  feeling  and  a  ringing  voice,  to  illustrate  the  cries  of 
"  shame." 

(11)  "The  'yeas' rang  to  the  vaulted  roof"  requires  that  the  voice 
peal  out  vibrant  with  excitement,  hand  and  arm  partaking  of  the  en- 
thusiasm, and  waving  in  a  rapid  sweep  upward  as  toward  the  roof  of 
-oine  lofty  building.  Exultation  and  triumph  color  line  2.  A  move- 
ment used  BOmetimes  To  illustrate  writing,  by  letting  forefinger  of  right 
band  glide  over  the  palm  of  the  left,  is  permissible  during  first  half  of 
line  3.  Make  the  word  "cracked"  picturesque,  both  in  tone  and  ges- 
ture; both  must  be  spirited,  and  aim  to  give  the  former  the  sound  made 
by  cracking  the  whip.  Start  your  horses  at  a  racing  speed,  watch  them, 
make  a  quick,  excited  gesture  on  the  words  "  adown  the  street;"  point 
out  "each  flying  horse;"  then  make  a  hasty  movement  of  this  hand 
"  here  "  and  that  one  "  there  "  to  illustrate  the  words  and  finish  the  stanza. 

(12)  Impersonate  Sheridan's  brother  as  speaking  to  the  right,  and 
handing  him  the  paper.  Be  guided  by  feeling;  further  action  is  un- 
Qecessary. 

(18)  On  last  line  make  one  forward  gesture,  and  then  another,  a? 
though  bidding  for  him  the  front  place  in  memory. 

(14)  A  prone  gesture  to  illustrate  the  height  of  a  little  child  in  line  5 
and  an  upward  wave  on  "  1 1  urrali  "  should  be  held  during  words  follow- 
ing. Complete  with  strong,  ringing  voice  the  story  of  "  How  Congress 
Fought  for  Sheridan,"  and  how  it  won  the  day. 


BATTLE  CRY. 


Now  for  the  flghl  I    Now  for  the  cannon  peal ! 
Forward!  through  blood,  and  toil,  and  cloud,  and  fire! 
Glorious  the  shout,  the  Bhock,  the  crash  of  Bteel, 
The  volley's  roll,  the  rocket's  blasting  spire  I 
They  Bhakel     Like  broken  waves  their  Bquares  retire! 
On  them,  hussars!    Not*  give  them  rein  and  heel; 
Think  oi  the  orphaned  child,  1  h<-  murdered  Bire; 
Earth  cries  for  blood  I     In  thunder  on  them  wheel  I 
This  hour  to  Europe's  fate  shall  Bel  the  triumph  seal 


60  EMMA    DUNNING  BANKS'S 

LAUREAME:    THE  MARBLE  DREAM. 

i. 

AT  last  the  hour  is  come!    Once  more  I  breathe — I  move — I  feel, 
Once  more  the  marble  dream  awakes,  once  more  my  senses  reel 
With  that  delight,  which  only  my  return  to  life  can  give. 
Oh,  strange,  and  sad,  and  mad  delight,  to  move  and  say,  I  live. 
To  hear  my  voice  float  through  the  air,  the  soft  air  sensitive — 
Exultantly  I  cry  out  thrice,  I  live!  I  live!  I  live! 

II. 

Let  me  rehearse  my  story.     Once  I  was  no  "  marble  dream  ;" 

1  had  my  place  in  this  fair  world;  men  called  me  "  sweet  Laureaine:" 

Strove  hard  to  win  my  favor;  but,  until  Cleonis  came, 

All  lovers  and  all  wooing-arts  proved  wearisome  and  tame. 

Ah,  how  I  loved  that  artist  soul!     He  seemed  a  sculptor  king; 

A  god  of  Grecian  beauty,  he!    Right  proud  I  wore  his  ring 

III. 

To  seal  our  fond  betrothal.     Ah,  my  one  love-dream,  so  fair, 
Thou  wert  too  pure  and  bright  to  last,  so  vanished  into  air. 
It  was  the  old  repeated  plot.     Another  suitor  came 
With  vaunted  hold  upon  my  sire,  to  blot  our  ancient  name; 
And  so  to  save  the  aged  one  life's  bitter  taste  of  shame, 
I  sold  myself  to  Attella,  to  satisfy  his  claim. 

IV. 

He  was  my  husband — and  a  fiend;  for  when  the  marriage  rite 
Was  well  performed,  and  all  my  soul  was  shuddering  with  affright, 
And  all  my  heart  cried  out  "  ( lleonis,"  mad  and  tempest-tossed, 
That  devil  turned  to  me  and  sneered  ;  "  My  proud  Laureame.  you've  lost 
A  game  you  might  have  won.     1  swore  to  pay  you  for  [iast  scorn. 
Your  ancestry  is  honest,  girl — your  father's  name  is  borne 

V. 

"As  nobly  now  as  e'er  it  was.     I  won  you  by  a  lie; 

And  now  I  hold  you  for  my  wife,  will  gods  and  men  defy." 

His  gloating  eyes  devoured  me.    Ugh!  I  feel  that  horror  still. 

He  moved,  and — then — I  stopped  him  with  an  outraged  woman's  will, 

So  mighty,  so  resistless,  that   I  felt  his  spirit  bow 

As  low  I  spoke:  "Incarnate  fiend!  heed  now  my  woman's  vow: 

\  ,. 
"  Laureame,  the  proud,  shall  never  live   to  be  Altella's  wife; 
His  rival  still  shall  <-all  her  bride,  in  death  though  not  in  life. 


ORIGINAL  RECITATIOXS  AXD  LESSON-TALKS.        6 1 

Within  Cleonis'  studio  walls  a  marble  block  doth  stand, 
Awaiting  shape  and  being  from  the  master's  magic  hand, 
And  mark,  I  kneel  to  all  the  gods,  invoke  revenge  for  wrong; 
Let  inch  by  inch,  and  limb  by  limb,  my  supple  body  strong, 

VII. 
"  Die  out,  and  then  again  have  birth  beneath  my  sculptor's  hand, 
Until  a  perfect  frozen  shape  within  his  home  I  stand. 
Ye  gods  above!     I  pray.  I  plead,  destroy  this  maid  Laureame. 
And  let  tier  live  once  more,  in  stone,  her  lover's  marble  dream." 
A  peal  of  thunder  shook  the  ground,  a  voice  from  eloudland  cried: 
"  Think  not  Laureame  shall  ever  be  the  false  Attella's  bride. 

VIII. 
[Slow  music.] 
"  In  all  her  purity  and  truth,  in  all  her  wild  despair, 
For  vengeance  she  invoked  the  gods,  and  answered  is  her  prayer. 
Now  hand  and  arm.  now  foot  an-d  limb,  then  cheek  and  lip  and  eye 
Shall,  as  the  sculptor's  work  doth  grow,  in  this  fair  maiden  die 
To  live  again  in  marble  pure.     Nor  men  the  truth  shall  know; 
All  shall  believe  some  sickness  strange  Laureame  doth  undergo. 

IX. 
"Ami  when  Cleonis1  work  is  done,  with  every  midnight  bell 
I'ntil  the  dawn,  Laureame  shall  live,  and  once  more  know  life's  speli. 
should  lapse  of  time  Cleonis  prove  still  true  to  marble  dream, 
Borne  night,  fair  maid,  he'll  call   thee  thrice.   Lmi n  ii nn .    'Laureame, 

Leu rt  a iif  . 
And  shouldsl  thou  hear  that  magic  call,  thou'lt  know  Attella's  dead, 
And  know  that  all  will  come  to  thee,  just  as  the  gods  have  said 

\. 
Winn  thrice  intoned,  thou  hcar'st  I  hat  cry,  upon  thy  marble  stand, 
And  wait  thy  love  and  happiness,  with  tender,  outstretched  hand.11 

[Music  Stops.] 

The  voice  < J i « -* i  out  in  distance,  -11111  n<>  other  word  was  said; 
A  tni«1  came  o'er  my  eyesight,  and  I  fell  like  one  struck  dead. 

Oh  I    pain  ami  bliss  of  dying,  and  of  being  bom  anew 
Beneath  a  lover's  artist   touch,  a  touch  BO  warm  ami  trm-. 

\l 

My  frozen  marble  fell  it.  and  thrilled  all  through  and  through 
•11  thai  block,  with  loving  touch,  he  chiseled  me  to  view. 


62  EMMA    DUNNING  BANKS'S 

So  oft  Cleonis  told  his  love  unto  that  marble  dream 

Almost,  sometimes,  she  burst  her  bonds,  and  cried:   "Behold  Lau- 

reame !  " 
And  when  at  last  the  work  was  done,  a  Galatea  she  seemed, 
And  he  Pygmalion,  he  so  loved  and  of  that  statue  dreamed. 

XII. 
Ah,  me'     The  long  and  weary  days  have  proved  his  love  most  true, 
And  yet  that  magic  call  comes  not.      I  would  me  that  lie  knew 
That  sometimes  his  Laureame  doth  live,  doth  live  and  listen  for 
His  summons  bidding  her  return  to  day  and  life  once  more. 
Laureame!  My  heart!  Whatdolhear?  Laureame'  'Tishe!  Laureame! 
Oh,  come,  Cleonis,  come  and  find  alive  your  marble  dream! 


LESSON-TALK. 

This  selection  was  written  especially  for  a  costume  recitation,  and  a 
few  words  as  to  costume  and  facial  make-up  may  not  come  amiss.  A 
robe  of  crinkled  seersucker,  with  drapery  of  albatross,  is  effective  and 
inexpensive.  The  plain  skirt  is  made  with  a  train,  and  quite  closely 
drawn  in  about  the  lower  limbs  by  means  of  elastic  bands  across  the 
back  breadth.  Care  should  be  taken  not  to  interfere  with  freedom  of 
movement.  The  body  is  made  peplum  fashion,  and  is  about  eight 
inches  in  depth  below  the  waistdine;  and  on  either  hip  it  terminates 
in  deep  points,  extending  about  half-way  down  the  skirt.  It  is  low- 
necked  and  sleeveless,  buttoning  on  the  shoulders  with  large  self-cov- 
ered buttons  about  the  size  of  a  silver  dollar.  The  albatross  drapery 
completes  an  extremely  simple  statuesque  costume.  A  carpenter  can 
make  the  square  pedestal,  consisting  of  two  steps  covered  with  white 
muslin.  Cheese-cloth  also  answers  nicely  for  statue  costumes.  As  re- 
gards make-up,  do  not  use  grease-paints,  as  you  will  probably  want  to 
resume  your  own  color  at  short  notice,  and  grease-paints  to  the  aver- 
age  amateur  are  somewhat  troublesome  to  eliminate.  Any  liquid  cos- 
metic, applied  with  a  sponge,  smoothly  and  carefully,  on  face,  neck 
and  arms,  followed  by  plenty  of  pearl  powder,  will  prove  sufficient. 
A  neat,  close-fitting  white  wig  is  necessary,  and  can  be  hired  at  a 
trifling  expense.  Anyone  who  has  ever  seen  the  play  of  "  Pygmalion 
and  Galatea"  will  remember  that  the  statue  is  in  an  alcove,  hid  by 
portieres.     Some  such  arrangement  is  advised  for  tin's  recitation. 

(1 1   Lei  US  imagine  t  lie  curt  a  in  drawn  and  the  statue  disclosed  to  view. 

The  head  is  somewhat  drooped  toward  the  left  shoulder,  the  left  arm 
hangs  loosely  by  the  side,  the  right,  raised  on  high,  rests  the  palm  of 
tin-  hand  upon  the  head.  A  deep  toned  bell  peals  slowly  forth  the  mys- 
tic hour  of  twelve,  and  with  every  stroke  there  seems  to  come  to  the 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.         6$ 

statue  a  touch  of  awakening  life.  The  hands  tremble,  the  head  uplifts, 
the  eyes  open,  the  lips  part,  a  look  of  joy  comes  over  the  face,  and  as 
the  last  stroke  of  the  bell  dies  away  she  steps  with  gliding,  graceful 
motion  from  the  pedestal  and  speaks  the  opening  line,  glancing  over 
the  left  shoulder  at  the  vacated  pedestal  during  the  first  half  of  line  2. 
Let  a  graceful,  swaying  abandon  possess  hands,  arms  and  torso,  to  ex- 
press the  joy  she  feels  in  living,  during  the  remainder  of  lines  2  and  3. 
Clasp  the  hands  to  the  breast,  during  the  next  line,  letting  them  sepa- 
rate, and  move  forward  in  sympathy  with  a  forward  step,  on  the  words 
'"to  move."  Prolong  the  vowel-sounds  in  the  words  "  I  live,"  letting 
them  die  lingeringly  and  effusively  upon  the  air.  A  curving,  ascend- 
ing gesture  with  right  hand  is  permissible  on  line  5.  Deep,  lingering 
touches  of  feeling  permeate  the  thrice  repeated  expression  "I  live," 
closing  the  stanza. 

foil  are  supposed  to  have  made  your  steps  obliquely  to  the  right 
of  the  pedestal.  Now  move  slowly  to  the  opposite  side,  and  utter  the 
first  words  meditatively,  glancing  toward  and  indicating  the  pedestal 
with  right  hand,  when  repeating  last  half  of  line  1.  Languid,  curving, 
statuesque  grace  of  movement  should  characterize  the  gestures.  On 
the  words  "  in  this  fair  world,"  let  the  hands  come  together  and  sepa- 
rate somewhat  widely  on  the  word" world."  The  mood  predominat- 
ing the  remainder  of  the  stanza  is  clearly  painted  by  the  words. 

The  last  three  lines  are  colored  with  a  touch  of  scorn.  No  ges- 
tures ,,1-e  necessary ;  the  attitude  is  expressive  of  despondency. 

Attitude  more  forward  and  active.  The  coloring  expression  is 
that  of  hatred,  bet  the  hands  separate  and  then  come  pleadingly 
forth,  as  the  voice  wails  out  the  longing  cry  "  ( Meonis,"  in  line  a.  The 
Impersonation  <>t'  the  remembered  speech  of  Attella  is  sneering,  haughty 
and  arbitrary  to  the  close. 

(.">'  The  interjection  "ugh"and  words  following  in  line  :J  may  be 
itrongly  rendered.  A  shudder  of  repulsion  seems  to  thrill  through  the 
whole  physique,  ami  the  hands  for  an  instant  cover  the  face,  as  though 
to  shut  that  horror  out.  Extend  therighl  arm  ami  hand  in  a  repellent 
gesture,  and    let    the"mighty    will"  speak    forth    in  every   word  which 

follow-. 

1  tn  line  :;.  an  oblique  gesture  as  though  designating  the  studio  of 
Cleonis  may,  perhaps,  !>'■  allowed.  Drop  upon  one  knee,  during  the 
Impassioned  In  vocal  ion  to  tin-  gods,  ami  ring  oul  the  tones  pleadingly, 
forcefully,  and  with  resistless  eloquence  in  their  appeal.  Sometimes 
clasp  the  hands,  anon  separate  and  raise  them  on  high  in  the  intense 
excitement  hen-  prevailing,  'I' lie  hand-  may  he  powerful,  eloquent  aids 
iti  this  despairing,  outraged  cry  for  help  and  vengeance. 
'?,  8,  '■'.  i"'  A  deep  voice  ie  desirable  for  the  speech  of  the  gods,  coupled 


64  EMMA    DUXNIXG  BANKS'S 

with  strong  emphasis  throughout.  If  there  is  an  orchestra,  soft,  slow 
music  would  form  an  effective  accompaniment.  The  calls  of  "  Lau- 
reame "  in  the  ninth  stanza  should  be  lengthened,  and  would  be  greatly 
helped  by  the  music  taking  them  up  and  seeming  to  repeat,  prolong, 
and  echo  the  effect,  clasp  hands  to  breast  during  last  two  lines  of  the 
tenth  stanza. 

i  11  i  The  voice  is  vibrant  with  love  and  pride.  In  line  4,  an  impulsive 
double  gesture,  with  the  hands  thrown  caressingly,  winningly  out,  on 
the  woi-ds,  "behold  Laureame." 

(12)  A  long-drawn  sigh  serves  to  usher  in  the  words  "Ah  me  1 "  and 
the  same  wearied,  longing  spirit  characterizes  the  first  four  lines.  Then 
someone  from  behind  the  scenes  must  be  trusted  with  the  prolonged 
crj  of  "  Laureame!  "  She  starts  with  hand  pressed  convulsively  to  her 
heart,  and  murmurs  the  next  few  words.  Again  comes  theory  'Lau- 
reame'" She  mounts  the  steps  of  the  pedestal,  as  directed  by  the  gods, 
and  exclaims  "  'tis  he,"  with  one  hand  behind  the  ear  in  listening  atti- 
tude. Once  more  comes  the  cry;  and,  as  she  repeats  the  last  words, 
the  arms  come  slowly  forward  and  are  extended  in  loving  welcome  to 
Cleonis,  and  thus  we  leave  our  statue  "  Laureame,  the  Marble  Dream." 

Curtain  falls. 


ONLY  PLAYING. 

A    LITTLE  old  woman  before  me  walked  slowly  down  the  street. 
Moving  as  if  aweary  were  her  feeble,  tottering  feet. 
In  the  folds  of  her  rusty  mantle  sudden  her  footstep  caught, 
And  I  Bprang  to  keep  her  from  falling,  with  a  touch  as  quick  as  thought. 

When  under  the  old  poke-bonnet  peeped  out  a  winsome  face, 
Framed  w  ith  1  he  flaxen  ringlets  of  my  wee  daughter,  Grace. 
Mantle  and  cap  in  a  t  winkling  dropped  off  at  my  very  feet, 
And  there  Btood  the  little  fairy,  beautiful,  blushing,  sweet! 

Will  it  be  like  this.   I   wonder,   when  at  last   we  come  to  stand 

<  >n  the  ringing  golden  pavement  of  the  blessed  heavenly  land? 

Losing  the  rusty  garments  we  wore  in  our  "old  age"  time, — 

Will  our  better  Belves  spring  backward,  serene  in  a  youth  sublime? 

Instead  of  the  shape  that  hid  as  and  made  us  old  and  gray, 
Shall  we  gel  our  child-hearts  back  again,  with  a  brightness  that  will 
stay': 

I  thought but  my  little  daughter  slipped  her  dimpled  hand  in  mine; 

"  I  was  only  playing,'1  she  whispered,  "  that  I  was  ninety-nine." 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.         6$ 

RUTHIE'S  FAITH   IN   PRAYER. 
1. 

RUTH'S  mamma  sang  out:  "Ruthie!   Ruthi-e!   Ru-th-i-e!"   Called 
her  thrice, 
Then  said:  "  I  wish  the  child  was  here,  for  I've  got  something  nice 
To  show  to  her."     Now  /thought  Ruth  was  in  the  arbor  green 
And  found  her;  listened,  peeped,  and  then  I  caught  these  words,  un- 
seen: 

II 
"  I  fink  Til  set  my  table  now,  and  ask  some  folks  to  tea. 
Ze  first  sail  be  my  pussy  tat,  an1  s'e  s'all  sit  by  me; 
Ze  next  s'all  be  my  bow-wow  dod — b'ess  his  white  turly  head; 
An'  /en  my  Lady  Lillie  doll — oh,  I  fordot,  sVs  dead! 

III. 

1  put  her  in  her  toffin  box,  an1  jessed  ze  rest  in  black. 
What  s'all  I  do?    What  s'all  I  do?     I  muss,  muss  det  her  back. 
I  know!  I'll  p'ay  ze  dear,  dear  Lord  to  make  her  live  aden 
Like  Laz'rus  did!     I'll  p'ay  weel  hard,  an'  zen  I'll  say  'amen.'" 

IV. 
Dear,  dimpled,  little,  baby  saint.    She  made  a  picture  rare, 
As  down  she  knelt  ;  her  rosebud  face,  enframed  by  shining  hair, 
Upraised,  in  earnest  pleading  grace ;  above  clasped  waxen  hands. 
She  looked  some  floweret  lent  to  earth,  by  radiant  angel  hands. 

V. 
Sweet  baby  Ruth!  Her  "  Lillie  doll"  in  truth  to  her  seemed  dead. 

So  when  she  prayed,  "  Dod  dive  her  life."  she  meant  each  word  she  said 

That  little,  lisping  prayer  of  faith !    Was't  answered?    Whoshallsaj  i 

Within  the  house  sal  all  t he  dolls  in  finery  so  gay. 

VI. 
It  put  to  shame  their  former  robes,  the  "  Lady  Lillie  doll1' 

Won-  dreSS  and  ha1  of  pale  blue  silk,  with   rose  lined  parasol; 
Ih  r  "  toffin  bOX  "  of  purest    w  hlte,    was  to  be  seen  no  more, 

Imt  iii  it  -  stead  a  carriage  lined  with  pink  stood  on  the  Moor. 

VII. 
Ruth's  mamma  kissed  her;  then  she  said  :  "  My  dearie,  this  surprise 
I  made  for  Ruthie.'1    Quick  Ruth  spoke,  an  angel  in  her  eyes 
Looked  out  in  wonder:  "  Mamma,  no    it  isn'1  a  surprise, 

I  knew  ze  Lord  would  make  her  live,  hetause      lie      is     so     wise." 


66  I'M  MA    DUNNING  BANKS'S 

VIII. 
<»  baby  faith  1    Into  each  heart,  an  angel  from  above, 

Prom  chalice  rare,  lets  fall  one  drop,  to  aid  in  works  of  love. 

(>  children!   may  your  trusting  hearts,  this  angel  fait h-drop  rare 

So  guard,  that  when  old  age  shall  come,  'twill  prove  a  fountain  fair. 


LESSON-TALK. 

(1)  The  sweet,  high  head-tones  assumed  in  the  impersonation  of  the 
mother  are   held   a    little   longer  with  each  successive  call   of"Ruthie!" 

for  each  time  she  imagines  the  child  farther  off,  and  the  distance  to 
which  her  voice  must  reach  prolonged.  The  remainder  of  her  speech 
render  simply  anil  naturally,  with  no  element  of  impatience,  hut  a 
shade  of  disappointment  tingeing  the  tone.  In  the  beginning  of  the 
new  sentence  in  line  :),  drop  the  characterization  of  the  mother  and 
give  an  additional  emphasis  to  the  tone,  and  a  slight  conversational 
gesture  on  the  pronoun  "  I',"  by  pointing  to  yourself.  Gestures  allow- 
able on  "  listened,  peeped  "  suggest  themselves. 

(2)  In  this  stanza  we  come  to  the  impersonation  of  the  baby  girl,  and 
do  not,  I  pray,  pass  lightly  over  her  burden  of  sorrow.  Children's 
griefs,  we  must  rememher.  seem  to  them,  for  the  time  being,  extremely 
heavy,  and  equally  hard  to  hear.  The  voice,  of  course,  must  be  light 
ami  of  purest  front  placing,  and  the  impersonation  is  made  earnestly. 
Sin-  commences  in  a  very  happy  manner,  as  though  filled  with  some  sud- 
den, pleasant  thought.  In  planning  whom  she  shall  invite  to  her  little 
impromptu  tea.  she  counts  them  on  her  fingers.  "  Ze  first i  s'a  11  he  my 
pussy  tat."  and  down  comes  the  forefinger  of  the  right  hand  upon  the 
corresponding  one  of  the  left,  with  a  cunning  little  nod  of  the  head  as 
she  says  "  an' s'e  s'all  sit  by  me."  She  counts  her  "  bow-wow  dod  "  as 
second;  and,  then,  proceeding  to  the  third  finger,  is  about  to  enumerate 
her  best-beloved  among  her  dolls.  Her  start  of  utter  bewilderment  ami 
grief  as  she  remembers  her  dollie's  death,  and  the  sense  of  her  bereave- 
ment coining  home  to  her.  can  he-  made  very  effective,  and  the  children 

will  like  to  imitate  it.  Clasp  the  head  with  both  hands  on  the  phrase, 
"  ( >h.  I  fordot,  B'e'a  dead  ' " 

In  line  2  the  clasping  of  the  hands  together  and  the  childish  grief 
are  real  and  earnest  as  she  cries  out  imploringly:  "  What  s'aZZ  I  do! 
what  s'all  I  dot™  In  strong  contrast  is  the  relief  evinced  in  her  facial 
expression  and  attitude  as  she  realizes  that  she  may  carry  her  trouble 
to    />■  dear,  dear  Lord,"  that  she  can"p'ayweel  hard,"  and  "zen  say 

'  aiii'-n.'  " 

This  stanza  is  a  description,  having  for  coloring  a  strong  admira- 
tion, called   forth    by  the  memory  of  the   pretty  picture  made  by  the 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         67 

little  Ruth.  If  the  recitation  be  given  by  a  child,  I  think  I  should  ad- 
vise a  gesture  made  descending,  right  hand  prone,  on  "  lent  to  earth," 
letting  the  hand  ascend  and  wave  gently  upward  on  "  radiant  angel 
bands." 

(5)  Clasp  the  hands  and  give  the  lisping  prayer,  "  Dod  dive  her  life**1 
very  earnestly.  A  gesture  as  though  designating  the  house,  in  line  4, 
and  the  action-work  of  the  fifth  stanza  is  completed. 

(<>)  Use  an  easy  conversational  tone  through  this  stanza. 

(7,  8)  la  the  seventh  stanza  make  sufficient  change  in  the  voice  to 
impersonate  the  brief  speech  of  the  mother.  In  the  next  few  words  re- 
sume your  own  manner;  then  once  more  adopt  the  sweet,  childish 
tones  and  quaint  earnestness  of  the  little  Ruth,  and  finish  the  selection 
easily  and  naturally. 


COUNTRY   DANCING. 

a   <T~AKE  your  places ! '"     Goodness  gracious!  Don't  go  like  a  flock  of 

geese. 
"Honors  all!"  Keziah  Muggin.  take  your  hat  off,  if  you  please. 
"Forward  four  and  back  again!"    Jerry,  go  the  other  way. 
"Ba/aia-i  a//.'"     .Jake,  how  you  topple;  have  you  lost  your  balance—- 
say? 

"L*m<>)nt(l«  nil!"'     Bless  me,  Hiram,  don't  kick  up  your  heels  so  high. 
"  S/ri  n<  1  your  partnt  rs!"  John  and  Sally,  stop  your  court  in' on  the  sly. 
"Right  mid  left  all  round .'"     Not  that  way;  you're  a-gittin'  mixed  up 

thar. 

"Sashay  all!"  Them  cornfield  gaiters  make  more  noise  than  1  can  b'ar. 
"Forward  ttoo  <nni  back  <i</ain  .'"    .Jim.  don't  throw  yourself  away. 

"  DOS  ado!"       Keep  the  Step  there,   hoys,    1    pra  \  . 

"Eight  Int ml*  rmi ii'/.'"     Now  mind  your  eye  there— Jake,  you  aever 

danced  before. 
"  Lad  ii  s  change!"    See  Polly  Simmons,  there  she  goes  upon  the  Moor: 

'Gentlemen  balanci   /<>  your  partners!"    Snap    there  goes  my  little 

string. 
Sashay  partners  down  ih<  middh  .'"    Ike.  quil  pinchin'  Polly  King. 
"Lemonadi  nil!"     Whew!  it's  warm  here.     Pete,  you  dance  like  climb 

ing  stair-. 

"Zddie,      "  Therel  my  E-string's  busted.  "Swing  your  partners  to  their 
chairs ' " 


68  EMMA    DUNNING   BANKS'S 


ONE  THANKSGIVING   DAY  OUT  WEST. 

i. 

"~pW.\s  a  merry,  glad  Thanksgiving,  and  relatione  from  the  west 

1        Helped  us  eat  our  turkey  dinner,  pumpkin  pies  .and  all  the  rest. 
Round  the  hearth  we  watched  the  lire-gleams,  lighting  faces  young  and 

old, 
Baby  Alice  strove  to  catch  them,  as  they  llickered,  shy  yet  bold, 
Now  retreating,  now  advancing,  now  in  shadow,  now  in  light, 
Till  at  last  the  baby  caught  one,  and  held  on  with  all  her  might. 
How  we  laughed  aloud  as  grandpa  roused  up  quickly  from  his  doze, 
For  the  ray  of  dancing  firelight  baby  caught  was — on  his  nose. 

II. 

Twas  a  simple  thing  to  laugh  at,  but  it  made  us  all  feel  bright, 

S<>  we  clapped  our  hands  and  shouted,  when  somebody  said  :  "To-night 

I-  the  time  for  grandpa's  Story  that  he  promised  us  last  week." 

Then  we  grouped  ourselves  to  listen,    while  he  cleared   his  throat  to 

speak. 
Now.  perhaps  you'll  think  that  grandpa  was  some  very  aged  man, 
But.  although  we  called  him  "grandpa,"  he  was  really— Uncle  Dan. 
Baby  Alice  was  the  grandchild,  and  we  fell  into  her  way 
"  Grandpa-ing"  a  man  not  fifty,  with  his  dark  locks  not  yet  gray. 

III. 

How  I  wish  I  could  repeat  it  just  as  he  did,  with  his  vim; 
Why,  at  times  he  looked  not  twenty,  in  the  firelight's  flickering  glim, 
And  his  wife,  our  dear  Aunt  Mary,  looked  so  lovely  and  so  young 
As  she  bent  and  listened  fondly  to  that  story  from  his  tongue. 
H«-  began  it  something  this  way:  "  Let  me  see,  'tis  thirty  year, 
Thirty-six,  ago  lasl  evening,  and  a  night  to  make  one  fear. 
We  bad  left  the  east  in  spring-time  for  the  lonely  western  wild; 
Nancy's  parents  brought  me  with  them,  for  I  was  an  orphan  child. 

IV. 
Quick  we  built  our  lone  Log-cabin,  thirty  miles  from  any  town, 
And  our  Nan.  a  bright-haired  fairy,  danced  about  in  blue  stuff  gown. 
I  was  twelve,  and  she  but  eight  then,  but  1  loved  her  all  the  same; 
Though  a  boy.  1  boped  to  win  her.  hoped  some  time  she'd  bear  my  name. 
Through  the  golden  hearted  summer  hard  we  worked  and  were  content. 
An  old  settler  from  the  city,  where  he  said  his  life  was  spent, 
<  lame  and  helped  as,  and  our  Nancy's  eyes  would  open  wide  and  stare 
At  his  tales  ol  western  wild  lite,  tales  of  wolf  and  snake  and  bear, 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         6$ 

V. 

"  Of  the  first  she  seemed  most  fearful,  for  she  then  began  to  pray, 
In  her  simple  childish  fashion  :  '  Please.  Lord,  keep  the  wolves  away.' 
Well,  the  fall  came  on  right  early,  and  it  seemed  to  me  that  Nan 
Pined  a  little;  when  I  asked  her  if  'twas  so  she  said:  '  Now,  Dan, 
Don't  tell  mamma,  'cause  she'd  worry,  but  I  wish  I  had  a  pet — 
P'rhaps  you'll  think  I'm  always  wishing  for  something  I  cannot  get — 
But,  indeed,  I  think  if  only  I'd  a  dog  or  little  cat, 
When  I  can't  get  girls  to  play  with,  I  would  be  content  with  that.' 

VI. 

"After  that  I'd  lie  at  night-time,  wide  awake,  and  think  and  think 

How  to  get  those  pets  for  Nancy,  for  I  could  not  sleep  a  wink 

Till  the  riddle  was  all  solved  out.     Then  one  day  with  boyish  pride 

Straight  I  went  and  asked  the  master  could  I  take  the  team  and  ride 

To  the  city,  and  gave  reasons  why  it  seemed  that  I  must  go; 

And  he  said  I'd  worked  so  faithful  that  he  could  not  say  me  no. 

So  two  days  before  Thanksgiving,  with  a  load  to  sell  in  town, 

And  instructions  from  the  mistress  how  to  purchase  a  new  gown, 

VII. 

"  Off  I  started.     Well,  I  got  there,  sold  my  load,  and  then  began 
The  real  object  of  my  journey — how  to  get  those  pets  for  Nan. 
Finally  I  found  and  bought  them,  shepherd  dog  with  puppies  six, 
And  the  man  threw  in  some  kittens,  full  of  cunning  little  tricks. 
When  my  queer  load  was  all  ready  it  was  very  near  to  night. 
But  I  hoped  I  and  my  cargo  would  reach  home  before  daylight. 
Soon  I  had  the  stars  for  company,  and  the  moon  rose  bright  and  mild; 
For  an  hour  or  so  it  lasted,  then  there  came  a  change  so  wild, 

VIII. 

"And  a  storm  loomed  up  so  sudden,  I  was  forced  to  take  a  rest 

Ami  seek  shelter  in  the  forest,  and,  if  1  the  truth  confessed, 

E'en  though  fear  and  I  were  strangers,  it  seemed  ghostly  in  that  wild, 

And  I  then  and  there  remembered,  1  was  then  and  there  a  child. 

How  the  wind  1  io\v led  <>ni   its  fierceness,  walling  like  some  soul  in  pain; 

Then  ;i  lull  came  through    the   blackness,  and    the  storm  seemed   on  the 

wane; 
So  I  started  once  more  homeward,  talking  to  my  cats  and  dogs, 
And  I  cheered  the  frightened  horses,  when  they  stumbled  over  logs 

IX. 
"  Which  the  storm  laid  in  our  pathway.    Thus  we  jogged  some  time 

along, 
While  the  wind  kept  ap  its  howling,  and  E'd  try  to  sing  a  song 


;o  EMMA  DUNNING  BANKS'S 

Just  to  make  it  serin  more'  folksie.1    Then  the  stars  cai  ne  out once  more, 
Everything  was  smooth  and  peaceful,  till  1  heard  a  sullen  roar 
So  blood-CUrdling  in  its  horror  that  it  chilled  me  then  and  t  here. 
'Twas  so  fierce  and  bo  unearthly;  then — 1  thought  of  Nancy's  prayer; 
Km  no  time  was  left  for  praying,  all  things  now  meant  'do  and  dare,1 
For  the  famished  wolves  were  coming,  starved  and  screaming  from  their 
lair. 

X. 
"Oh,  to  hear  the  tortured  howling  of  thai  snarling,  snapping  band ; 
Oh,  the  blows  I  gave  my  horses,  with  do  sparing,  shrinking  hand, 

As  1  stood  up  and  cried:  '  Faster!   go  it,  faster!     ()  my  God!' 

Mow  it  all  comes  hack  upon  me — till  I'm  buried  'neath  the  sod 

Will  at  Times  the  awful  terror,  of  that  horrid,  threatening  death 

( Overwhelm  me,  agonize  me,  almost  seem  to  stop  my  hreath. 

i  made  good  use  of  my  pistol,  till  I'd  fired  off  every  shot, 

And  the  brutes  would  stop  and  wrangle,  o'er  the  one  slain  from  their  lot. 

XI. 

"  So  at  times  I  gained  upon  them,  then  again  the  horrid  fray 
Was  so  close  I  cried  like  Nancy.  '  Dear  Lord,  keep  the  wolves  away.' 
Came  a  Hash  of  inspiration,  and  the  mother  with  one  pup 
Quick   1  Threw  t  he  snarling  devils,  to  fight  over  and  eat  up. 

Then  I'd  goad  the  frantic  horses,  lash  them  To  sTill  greater  speed, 
Threw  out  puppies,  threw  out  kittens,  though  it  seemed  a  coward's 

deed. 
Till  we  reached  the  dear  lo<?-cabin,  with  the  daybreak's  eastern  light, 
.Inst  as  my  great  hero  horses  sank  down  dead— gave  up  the  fight. 

XII. 
"I'd  one  kitten  and  a  puppy  in  my  arms,  as  Through  the  door 
In  I  Staggered,  and  fell  fainting,  senseless,  on  the  old  oak  floor. 

Master  said  hi- little  Nannie  had  been  praying  all  the  day: 
'  Bring  Dan  back  to  eat  Thanksgiving,  and.  Lord,  keep  the  wolves  away.' 
<  m.-  Thanksgiving,  eight  years  later,  Nancy,  here,  became  mywife. 
That  wee  kitten  and  ThaT  puppy,  rolling  round  in  playful  strife, 
Are  descendants  of  the  ones  I  brought  from  Town  for  pets  for  Nan, 
When  The  wolves  so  nearly  made  an  end  of  uncle 'grandpa1  Dan." 


LESSON  TALK. 

(1)  A  cheerful,  animated,  conversational  manner  should  characterize 
The  greater  part  of  this  selection.  Endeavor  to  picture  to  yourself  and 
to  The  audience  your  remembrance  of  the  little  fireside  group,  and 
make  a  gesture  to  the  right  when  commencing  line  3,  followed  in  line 5 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         y\ 

by  such  conversational  movements  of  the  hand  as  are  best  adapted  to 
illustrate  the  meaning  of  each  clause.  On  the  words  "  caught  one,"  let 
the  thumb  and  second  finger  of  the  right  hand  close  together.  Finish 
the  stanza  pleasantly. 

(2)  In  line  2  slightly  suit  the  action  to  the  word  as  you  say  "  clapped." 
A  conversational  movement  of  the  left  hand  to  engage  attention  is  per- 
missible as  you  commence  line  5.  It  is  as  though  the  idea  had  just  oc- 
curred to  you  that  there  might  be  a  mistake  about  "  Uncle  Dan  "  which 
it  would  be  as  well  to  rectify  before  going  further. 

(3)  Decided  admiration  colors  the  first  four  lines.  Uncle  Dan  in 
speech  is  at  first  hesitating  and  thoughtful,  as  though  trying  to  calcu- 
late the  exact  time  the  events  happened. 

(4,  5,  6,  7)  Easy  conversational  manner,  accompanied  by  correspond- 
ing gestures  used  sparingly. 

(8,  9)  Now  the  voice  changes  and  becomes  more  impassioned,  the  atti- 
tude more  advanced,  as  the  man  seems  to  lose  himself  and  re-live  his 
former  experience.  In  the  last  half  of  line  3,  ninth  stanza,  and  the 
first  half  of  line  4,  let  a  gentle  smoothness  and  evenness  of  tone  charac- 
terize the  voice.  With  the  remaining  lines,  however,  all  is  changed; 
rapid  rate  and  strong  excitement  are  decidedly  evinced.  A  quick 
backward  gesture  with  right  hand  will  convey  the  idea  that  the  nar- 
rator really  imagines  himself  once  more  on  the  spot,  and  that  the  wolves 
are  coming  from  their  lair. 

(10)  Now  all  is  fierce  excitement  and  terror.  The  voice  rings  out,  the 
body  is  animated  and  active  asthough  standing  up  and  shouting  while 
the  movements  of  the  hand  and  arm  suggest  rapid  blows  made  simul- 
taneously with  the  Ciy  of  "faster!  go  it.  bister!"  All  the  muscles  are 
nerved  up  and  made  strong  and  tens.-  with  the  horrified  excitement  of 
the  mood  prevailing;  then  with  the  words  "0  my  God,"  a  reaction 
comes,  a  stron-  tremor  pervades  the  frame,  the  hands  convulsively 
cover  the  face,  and  the  words  come  chokingly,  tremblingly  forth.  A 
pause  after  line  <>  will  enable  one  to  seem  to  regain  self-command,  and 
so  the  stanza  is  finished. 

Mli  During  the  short  prayer  in  line  2  the  head  is  uplifted.  A  double 
gesture,  as  though  throwing  something  backward,  is  permissible  on 
line  l.  and  on  the  last  half  of  line  ",  another  gesture  as  though  lashing 

tie-    horses    may  lie    made.      Rapid    rate   prevails    in    the  voice,  and    the 

gestures  musi  be  made  quickly.  Designate  the  cabin  by  a  forward  ges- 
ture, and  end  tin'  stanza  sadly. 

(12)  \  descending  prone  gesture  on  the  words "  fainting,  senseless"  Is 
suggested  f<>r  line  8.  I  >n  line  5  a  Blighl  movement  of  the  hand  toward 
"Aunt  Nancy."  and  the  kitten  and  puppy  may  he  pointed  out  in  line 
S,  and  so  ends  the  action  work  of  this  select  ion. 


72 


KM  MA    LUNNING   KAiVKS'S 


THE  SOLDIER'S  JOY. 


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SHE  was  just  tin-  prettiest  little  maiden  that  you  ever  knew, 
With  her  golden  curls  and  laughing  eyes  of  deepest,  truest  blue; 
Cinderella  and  the  fairy-land  might  all  have  lived  once  more. 
<  »n  that  uoful  night  tliis  maiden  sat  and  wept  her  bright  eyes  sore. 


ORIGINAL   RECITATIONS  AND  LESSON-TALKS.         73 

For  the  lilting,  catching  dance  tunes  from  a  fiddle  'cross  the  way, 
Floated  to  her  with  its  echo  from  the  tripping  feet  so  gay. 
She  could  hear  the  prompter  shouting,  see  the  merry  dancers  whirl, 
And  she  bowed  her  head  and  wept  aloud,  this  foolish  little  girl. 

II. 

She  had  coaxed  and  she  had  pleaded,  she  had  begged  that  she  might  go 

To  her  cousin's  farewell  party,  but  her  sister  said,  "  No,  no." 

Said,  "'  "Twas  very,  very  foolish  for  a  little  girl  of  ten 

To  allow  herself  to  think  so  much  of  dancing  and  young  men." 

So  she  peered  from  out  her  casement,  watched  the  dancers  as  they  flew, 

All  unheeding  steps  behind  her,  till  a  voice  she  loved  and  knew 

Cried  out,  "  Nellie,  from  that  window  just  draw  in  that  curly  head; 

Come  now,  dry  your  eyes  and  dance  with  me  and  Cousin  Sue  and  Fred." 

III. 

[Play  first  strain] 
Nellie  clapped  her  hands  and  cried  aloud  :  "  Thev're  playing  '  Soldier's 

Joy,1 
And  it's  just  the  thing,  for  Cousin  Fred  will  be  a  drummer  boy. 
Jack,  I  know  you  both  will  go  to  war,  and  soon  will  say  good-by, 
So,  now,  Jack,  that  made  me  want  to  dance,  and  that's  what  made  me 

cry; 

[Repeat  first  strain.] 

For  I  knew  this  dance  would  be  your  last  before  you  went  away. 
Listen!     'All  salute  i/our  part iters,'  quick,  now,  '  bal-an-ciS 
I'll  be  sent  to  bed.  so  lose  no  time,  ah,  now  it's  'Laities'1  chain.'' 
Cousin  Sue,  That's  just  too  lovely;  let  us  dance  it  all  again. 

IV. 
I  Play  second  strain.] 

" '( 'ross  again  and  swing  your  partm  rs.'    Jack,  you  must  not  whirl  so 

fasl : 
'Forward  >/>  a  Is  a  ml  h  an  your  ladies,1  howl  wish  this  dance  could  last, 
.lack,  it's  very  kind  Indeed  <>r  you,  a  great,  big,  grov»n-up  boy, 
To  remember  me,  ;i  lonely  child,  and  dance  i lie  '  Soldier's  Joy.1 " 

[Repeal  second  strain  very  soft  Ij  a  ml  more  Blowly,  | 
Fears  had  passed,  our  Nell  was  twenty;  .lack  had  birthdays  twenty- 

eighl  ; 
Time  found  Sue  a  plump  young  matron,  while  1 r  Fred  had  met  his 

late 

Fighting  bravely  for  our  Union,    .lack  was  with  him  when  he  fell. 
Are  1  he  took  his  dying  message  home  to  Sue  and  Cousin  Nell. 


74  EMMA   JiCXMNG  BANKS'S 

V. 
When  the  war  was  over  .lack  came  home  and  found  theooild  he'd  known 

So  fair  ami  sweet,  he  hoped  and  tried  to  win  her  for  Ins  own. 

.Inst  a  liir  coquettish  was  she  and  his  heart  slie  sorely  tried, 

Tantalized  and  teased  him  till  he  thoughl  she  ne'er  would  hi' his  bride. 

But  they  spent  one  glad  Thanksgiving  in  the  country  at  a  farm; 

In  the  evening  they  had  dancing,  and  Jack  offered  Nell  his  arm 

.1  USl  as  til"  inspiring  music  of  the  "  Soldier's  Joy"  broke  out. 

And  the  prompter  raised  his  voice  and  gave  the  old  familiar  shout 

VI. 
I  First  strain.] 
Of  "Salute  your  partnt  rs"  " Balanct  nil.''   Ah.  quickly  time  flew  back; 
Nellie  felt  herself  a  child  once  more  with  dear,  old,  honest  Jack. 
She  remembered  how  Jack  danced  with  her  and  left  the  merry  crowd, 
Thought  of  Sue  and  Vva\  the  while  her  step  kept  time  to  fiddling  loud. 

[Repeal  first  strain.] 
Now  it's  "StOtng  your  partners,"— did  Jack  hold  her  closer,  closer  still? 
Misty  tear-drops  veiled  her  bright  eyes  as  she  looked  up  'gainst  her  will, 

For  she  saw  determination  in  the  eyes  of  trusty  Jack, 

Felt  that  he  as  well  as  she  had  swept  along  time's  backward  track. 

VII. 
[Second  strain.] 
Now  it's  "Sides  cross  over,  bal -a  u -<■<■."  the  heads  may  take  a  rest, 
Jack  resolves  that  be  it  "  yes"  or  "no"  he'll  put  his  fate  to  test. 
So  between  the  giddy  mazes  of  The  dance  he  woos  his  wife 
As  he  a<k>  that  she,  his  childish  sweetheart,  will  be  his  for  life. 

[Repeat  second  strain.] 
All  her  flirting  ways  forsook  her  at  the  tremble  in  his  voice, 
But  the  glance  and  smile  she  gave  him.  made  his  faithful  heart  rejoice. 
Prompter  called  "Right  hand  /<>  partnt  r,"  as  she  gave  her  answer  coy. 
Promised  that  in  place  of  "  soldier's."  she  would  be  a  husband's  joy. 


LESSON-TALK. 

Were  you  to  ask  me  what  mood  should  predominate  when  giving  this 
selection,  I  should  answer,  a  dancing  mood,  and  add  that  a  merry, 
mirthful.  Bparkling  -pint  should  characterize  and  give  color,  life  and 
expressiou  to  the  work. 

(1)  Begin  in  even,  conversational  voice,  giving  especial  emphasis  to 
the  word-  "prettiest"  and  "you"  in  line  1,  making  the  pronoun  still 
more  marked  by  a  playful  shake  of  the  finger  at  some  imaginary  ac- 
quaintance in  the  audience,  in  line  2,  give  the  word " laughing "  a 
bright,  merry  inflection, and  linger  long  enough  on  The  words  "deepest, 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         75 

truest"  to  bring  out  their  full  meaning.  Let  the  hands  separate  from 
the  front  and  widen  somewhat  apart  as  you  say,  "all  have  lived  once 
more.11  Then  let  the  head  droop  in  mock  pity,  lingering  strongly  on 
the  word  "  woful,"  as  you  depict  the  spirit  of  the  child.  As  a  prelim- 
inary to  line  5,  sway  the  body  till  the  weight  rests  fully  on  the  forward 
right  foot,  the  right  hand  poised  as  though  to  aid  in  the  act  of  listen- 
ing, not,  however,  too  close  to  the  ear;  then  let  the  hand  drop  from  the 
wrist  and  dart  obliquely  forward,  to  illustrate  the  supposed  direction 
<  >f  "  the  fiddle  'cross  the  way."  The  word  "  floated  "  should  be  prolonged 
in  a  manner  descriptive  of  its  meaning,  accompanied  by  a  sympathetic 
wave  or  floating  of  the  hand  back  to  the  listening  attitude.  Before  re- 
peating the  first  half  of  line  7,  let  the  hand  move  nearer  the  right  ear; 
Beem  to  listen  for  a  brief  space,  then  turn  the  head  to  the  audience, 
give  a  little  nod  and  say,  "she  could  hear  the  prompter  shouting;" 
then  turn  the  face  obliquely  to  the  right,  shade  the  eyes,  pause,  then 
finish  the  line  as  though  announcing  the  result  of  your  observations. 
I  i  i  ve  the  last  line  as  though  in  sympathy  with  the  child. 

(2)  Place  special  stress  on  the  words  "coaxed,"  "pleaded"  and 
"begged."  The  sister  should  speak  to  the  left  in  a  precise,  firm  and 
decidedly  admonitory  manner,  helping  the  emphasis  with  the  forefinger 
o|  the  right  hand  while  saying  "no,  no."  Little  jerks  of  emphasis  on 
the  words  "very,  very  foolish,"  and  a  strong  suspicion  of  displeased 
amazement  colors  line  4.  In  the  same  line,  after  the  conjunction  "and" 
.  pause  is  made  emphatic,  and  the  climax  of  old-maidish  horror  is  at- 
tained by  throwing  both  hands  high  and  to  the  left,  as  though  to  ward 
off  some  dreaded  calamity,  at  the  same  time  turning  the  head  to  the 
right,  and  rolling  the  eyes  upward  in  virtuous  disgust,  while  ejaculating 
the  words  "young  men.''  During  line  5  let  the  body  sway  forward, 
weight  on  righl  toot,  hand  shading  the  eyes  at  first;  then,  Leaving 
them,  move  forward  horizontally  from  the  shoulders  to  point  out  the 
1  lancers.  Combine  this  gesture  with  a  hack  ward  movement  of  the  hand 
on  th.-  word-  behind  her,"  and  let  the  body  become  erect.  Imperson- 
ate Jack's  apeecfa  by  a  deep  voiceand rry,  natural  manner.    Gestures 

will  suggest  themselves  on  the  words  "  me  and  Cousin  Sue  and  Fred." 

i:!)    Now  comes  the  difflcuU   part  of  the  work,   which  consists  in  inton 

Lngthfl  words  in  perfecl  time,  having  complete  control  of  the  breath, 
abandoning  one's  Belf  to  easy,  harmonious  action  and  maintaining 
natural  expression.  The  music musl  not  he  played  slowly,  to  suit  the 
recitationist;  the  recitationisl  musl  be  Imbued  with  this  idea,  she 
hears  the  merry  music,  and  in  an  equally  merrj  mood  endeavors  to  lit 
her  words  to  it.  as  a  dancer  Buits  his  Bteps  to  t  lie  time  and  melodj  of 
th..  vi..lin.  Thi-  thoroughly  in  your  mind,  it  you  play  at  all.  learn 
the  melody  -it     The  Soldier 'v  Joy;"  if  not,  have  84 one  do  it  tor  yon, 


76  EMMA   DUNNING   BANKS'S 

playing  the  first  strain  through  twice  for  the  third  stanza.  Patiently 
lir  the  syllables  of  the  words  to  the  notes  of  the  music.  As  a  rule,  one 
syllable  is  intoned  to  one  eighth-note,  except  the  last  syllable  of  the 
line,  which  requires  to  beheld  while  two  eighth-notes  or  one  quarter* 
note  is  played,  as  the  cast'  may  be.  During  the  third  stanza  it  is  the 
rule  to  end  each  line  with  a  quarter-note.  The  division  of  the  words 
at  the  end  of  the  hues  and  the  quarter-notes  belonging  to  them  are 
as  follow : 

lane  1  (words)  playing — Soldier's — Joy  (notes)  d — g — g; 

Line  2  (words)  be  a — drummer — boy  (notes)  c — a — a; 

Line  '■)  (words)  .soon  will — say  good — by  (notes)  ,7 — g — g; 

Line  4  (words)  that's  what — made  me — cry  (notes)  g — g — g; 

Line  5  (words)  'fore  you — went  a — way  (notes)  d — g — g. 

Line  6  is  an  exception,  requiring  a  quarter-note  for  each  syllable  of 
the  word  "  bal — an — c<5 "  (notes)  c — a — a. 

Line  7  (words)  now  it's — la-dies' — chain  (notes)  d — g — g; 

Line  8  (words)  dance  it — all  a — gain  (notes)  g — g — g. 

(4)  During  this  stanza  the  second  strain  is  played  twice.  For  every 
quarter-note  allow  two  syllables,  and  for  every  syllable  at  the  end  of 
lines  1,  3,  5,  7,  play  two  eighth-notes.  The  words  "  last"  and  "  fate"  in 
lines  2  and  6  are  intoned  to  the  time  of  the  quarter-note  d  in  the  fifth 
measure.  Lines  4  and  8  end  precisely  as  do  the  lines  in  the  third  stanza, 
allowing  a  quarter-note  for  the  last  syllable.  By  following  these  direc- 
tions implicitly,  you  cannot  fail  to  intone  the  words  in  time  to  the 
music;  by  practice  you  can  render  them  as  fast  as  you  choose,  and  by 
close  attention  you  can  give  them  rapidly,  in  time,  and  also  with  ex- 
pression; the  gesture  and  feeling  mirrored  in  the  countenance  will 
greatly  aid  in  the  latter.  Do  not  make  the  mistake  of  sacrificing  time 
and  rate,  in  this  selection,  to  inflection,  pauses  and  rhetorical  rules;  if 
you  do,  the  character  of  the  selection  will  be  lost.  All  is  to  be  made 
subservient  to  the  lightness  and  brightness  of  the  melody.  We  must 
not  endeavor  to  make  a  march  out  of  a  jig. 

Intone  the  first  half  of  line  1  without  action.  Then  sway  lightly 
forward  and  obliquely,  and  clap  the  hands  in  time  to  the  words  "  they're 
playing ' Soldier's  Joy,'"  and  shake  the  finger  knowingly  :is  you  say 
"  it's  just  the  thing."  During  line  3  turn  to  the  left,  and  while  twisting 
the  rings  upon  the  finger,  pout  and  swing  the  skirts  after  the  manner 
of  a  spoiled  child;  then,  with  a  sudden  impulse  of  confession,  turn  to 
the  right  again,  throw  out  both  hands  and  intone  line  4.  Line  5  re- 
quires for  gesture  a  shake  of  the  finger  and  toss  of  the  head  on  the 
words  "  I  knew."  In  line  6  the  righl  hand  goes  to  the  ear  on  the  word 
"listen."  Then  comes  a  swift  imitation  of  the  old  fiddler  holding  the 
violin  and  drawing  the  bow,  combined  with  an  instantaneous  change 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         y7 

to  a  heavy,  stentorian  voice  while  giving  the  prompter's  call  of  "all 
salute  your  partners."  Keep  up  the  heavy  voice  as  you  say  "  bal— an 
— ce,"  but  let  the  fiddler's  gesture  give  place  to  a  dainty  catching  of  the 
skirts  with  both  hands,  and  a  backward  dancing  movement.  During 
line  7  take  swaying,  dancing  steps  alternately  to  the  left  and  right 
toward  imaginary  vis-a-vis,  giving  first  the  right  hand  and  then  the 
left,  according  to  the  figure  of  "  ladies'  chain."  Keep  time  with  eyes, 
head,  body  and  feet  during  the  next  line,  bringing  the  hands  joyously 
and  excitedly  together  on  the  word  "  Sue." 

(4)  As  you  once  more  assume  the  prompter's  voice  in  the  call,  sway 
one  step  to  the  right,  bend  or  dip  with  the  knee,  and  whirl  completely 
around  to  the  right  again  in  time  to  the  music;  then  use  a  high,  child- 
ish treble  and  shake  the  finger  as  though  scolding,  when  you  say, 
"Jack,  you  must  not  whirl  so  fast."  During  line  2  assume  the  heavy 
voice  and  the  fiddler's  attitude  and  gesture;  lighten  the  voice  as  the 
gesture  changes  to  combine  with  one  of  the  clasped  hands  on  the  word 
"  how."  During  line  3  balance  to  the  left,  looking  over  the  shoulder  to 
the  right  and  talking  to  Jack;  then  turn  and  balance  to  the  right 
toward  Jack  and  finish  line  4.  During  the  four  remaining  lines  the 
music  should  be  gradually  softened  and  subdued.  On  the  word  "  fell," 
ending  line  7,  a  downward,  prone  gesture  will  suggest  itself,  to  be 
changed  to  a  wave  of  direction  on  the  word  "home"  in  the  last  line. 

(5)  The  words  "fair  and  sweet,"  "hoped  and  tried,"  should  be  deliv- 
ered with  a  strong  emphasis  and  feeling.  A  laughing  impulse  running 
through  the  voice  combined  with  a  merry  shake  of  the  head  and  fore- 
finger will  give  character  to  the  first  half  of  line  3.  Strongly  emphasize 
the  words  "tantalized."  "teased"  and  "ne'er."  Use  the  left  arm  for 
gesture  illustrating  Jack's  courtesy  in  line  0.  Bring  out  the  word  "in- 
spiring" st  rongly. 

The  rules  for  time  and  intonation  given  for  the  third  stanza  apply 
here;  BO,  referring  you  to  them,  we  will  proceed  with  the  action-work. 
Once  more  seem  to  hold  the  violin,  to  draw  the  bow,  and  to  call  out  in 
stentorian  voice  after  the  prompter's  fashion,  " Salute  your  partners," 
and  once  more  catch  the  dress  daintily  on  either  side  and  dance  back- 
ward a      you  say   "  Balance  all"    in   the  same   heavy  voice;    then  let  the 

gesture  niell  into  a  third  as  you  make  a  backward  move xx\  with  the 

hand  to  illustrate  the  flight  of  time.  This  art  of  combining  gestures, 
of  letting  one  dissolve  into  another,  so  to  speak,  one-  learned  will  never 
be  regretted.  Keep  time  and  step  involuntarily,  lifting  the  hem  of 
the  i\v-  a  tiny  bil  during  line  I.  Again  use  the  heavj  voice  and  bring 
to  view  the  picture  of  the  old  fiddler,  while  calling  out  "Swing  your 

partners;11    t  hen  suddenly  cross  both  arms  at   t  he  waist  and  I  rea  t    your 

self  to  an  appreciative,  suggestive  hug,  the  eyes  dancing  with  fun,  as 


j§  EMMA    DUNNING  BANKS'S 

you  say.  sympathetically,  "closer,  closer  still."  Deliver  the  next  line 
delicately  and  tenderly.  Straighten  firmly  and  proudly  on  the  word 
"  determination,"  and  finish  the  action-work  of  the  stanza  by  a  back- 
ward gesture. 

(7)  The  heavy  voice  and  action  of  the  fiddler  drawing  his  bow,  fol- 
lowed by  the  catching  of  the  skirts  and  the  dancing-steps  backward 
on  the  word  "bal — an — c6"are  again  repeated,  combined  with  a  ges- 
ture which  might  mean  "take  good  heed,"  when  you  announce  "the 
heads  may  take  a  rest,"  and  therefore  give  the  lovers  time  to  talk.  De- 
termination characterizes  line  2.  A  little  wave  of  the  hand,  as  though 
casting  something  away,  is  permissible  on  the  words  "  forsook  her."  In 
line  7  are  again  demanded  the  heavy  voice  and  impersonation  of  the  fid- 
dler as  you  call  out,  "right  hand  to  partner,"  changing  to  a  gesture  as 
though  giving  or  promising  something,  by  extending  the  right  hand  as 
you  say  "gave  her  answer  coy."  In  the  last  line,  introduce  dancing- 
steps  in  perfect  time  to  the  music,  finishing  all  by  a  little  courtesy. 

Do  not  sing  this  selection;  intone  it  with  expression,  remembering 
that  the  strong  beats  of  each  measure  come  on  the  first  and  third 
counts  and  accenting  the  syllables  accordingly.  Start  in  a  low  pitch; 
you  will  find  a  tendency  to  go  up,  but  keep  the  voice  down,  or  it  will 
prove  a  meaningless  attempt  at  singing.  Fight  against  the  tendency 
to  raise  the  voice  with  the  music,  and  remember  that  while  the  time 
must  be  perfect  and  the  rate  rapid,  the  true  expression  of  the  words 
need  not  be  lost  sight  of.  The  changes  of  voice  must  be  smooth,  in- 
stantaneous and  in  perfect  time.  This  selection  is  certain  to  please,  if 
the  recitationist  can  command  spirit,  fire,  and  perfect  self-abandon  to 
the  required  mood.  In  that  subtle  word  "abandon,"  lies  the  secret  of 
magnetism  and  success.  It  is  a  gift,  desired  by  the  many,  vouchsafed 
to  the  few. 


A   MANS  STORY. 

A    MAN  told  of  a  woman  fair— a  wondrous  woman  she, 
Who  never  ran  her  neighbors  down  when  she  went  out  to  tea. 
She  never  gossiped  after  church  of  dresses  or  of  hats, 

She  never  mel  the  sewing-school  and  joined  them  in  their  spats. 

She  never  beat  the  salesman  down,  nor  asked  for  pretty  plaques; 
she  never  asked  the  thousand  things  which  do  his  patience  tax. 
And  then  this  wretched,  wicked  man — his  punishment  will  come — 
Paused,    shrugged    his  shoulders,  and   then   said,  "  This  woman's  deaf 
and  dumb  I  " 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         79 


BRIDGETS  MISSION  JUG. 
1. 

THERE  were  six  little  girls  in  the  Sunday-school  class 
With  faces  like  roses  in  June. 
Bright,  clear  voices  and  merry,  had  each  little  lass, 

But  one  rang  a  different  tune. 
'Twas  a  rich  Irish  brogue,  and  it  tripped  from  her  tongue 

Both  coaxing  and  saucy  by  turns. 
Irish  blue  were  her  eyes,  should  you  ask  for  her  name, 
She'd  say — "  Och  shure  jist— Biddy  Burns.1' 

II. 

The  rich  banker's  child,  Edith,  tossed  proudly  her  curls 

When  Biddy  first  entered  the  class : 
"Why!  her  mother  does  washing;  d»  >es  teacher  expect 

We'll  mix  with  this  wild  Irish  lass?" 
"Shure,  I  niver  will  ax  yez,  I'll  lave  yez  alone, 

I'll  thry  by  mesilf  not  to  sin." 
Her  voice  trembled  with  tears;  then  the  teacher  spoke  out: 

"The  Saviour  will  count  Biddy  in. 

III. 
"My  dear  children,  you  grieve  me.     Now.  tell  me,  I  pray. 

In  what  are  yon  better  than  she? 
Finer  homes?    Richer  clot  lies?    Why,  if  such  be  the  cause, 

Yon  humbly  should  drop  on  your  knee 
To  lli.ni'k  God,  who  has  given  you  all  of  this  wealth, 

Ami  n>e  it  for  Christ's  Highest  good. 
Von  must  help  raise  the  ignorant,  succor  the  poor, 

My  children,  am  1  understood?" 

IV. 
"oil,  yes,  yes,"  they  all  cried ;  a1  leasl  .ill  excepl  one 

And  she  hung  her  head  and  looked  down. 
All  tin-  resl  held  out  hands  with  ;i  smile,  and  made  room 

For  Biddy,  and  Biddy's  worn  gown. 
Soon  her  bright,  merry  ways  won  her  classmates,  although 

They  laughed  al  herquainl  Irish  brogue. 
All  save  Edie;  she  hardened  ber  heart,  bul  al  lasl 

Twas  won  by  tins  dear  little  rogue. 


80  EMMA  DUNNING  BANKS'S 

V. 

Chiming  bells  filled  the  air  with  sweet  sounds  floating  out, 

And  seeming  t<>  peal  forth  "Come  here" 
Onto  Biddy,  as  trudging  with  book  'neath  tier  arm, 

She  thought  of  her  Sunday-school  dear. 
Just  beyond  her  tripped  Edie,  with  golden  bronze  shoes 

(These  shoes  were  her  pride  ami  delight), 
And  unconsciously  Biddy  had  mimicked  her  walk, 

Put  her  left  foot  out  first  and  then  right. 

VI. 

Then  again  out  with  left,  and  then— well,  she  stopped  short, 

For  Edith  had  paused  in  dismay, 
Looking  first  at  her  shoes,  and  then  down  at  the  mud, 

Which  lay  ankle  deep  in  her  way. 
"  Shure,  it  won't  hurt  me  brogans;  I'll  lift  her  right  up 

And  save  the  foine  shoes  on  her  fate." 
Said  our  Bridget,  then  cried  :  "  Oh,  Miss  Edie,  jist  wait, 

Shure,  I'll  help  yez  over  the  strate." 

VII. 

Edith  felt  herself  lifted  by  strong  little  arms 

And  landed  quite  free  from  the  mire. 
"  There  now,  darlint,  ye're  safe,"  Biddy  cried,  while  her  cheeks 

Blushed  rosy  and  red  as  a  fire. 
"  <  )h,  now,  Biddy,"  said  Edie.  "  when  I've  been  so  mean 

1  don't  see  how  you  could  be  kind. 
Oh,  I  thank  you  so  much,  I'll  remember  all  this — " 

'  Miss  Edie,  jist  stop,  do  ye  mind! 

VIII. 
"  Don't  the  Saviour  jist  say.  we're  to  love  wan  and  all, 

An'  do  as  we  would  be  done  by? 
Shure,  if  I  had  thim  shoes,  I'd  be  glad  of  a  lift 

If  any  wan  chanced  to  be  nigh." 
That  same  Sabbath  in  class,  a  small  jug  n  a  le  of  stone, 

To  hold  mission  mites  for  a  school 
Far  away  off  in  India,  was  given  each  girl, 

And  "save  all  you  can,"  was  the  rule. 

IX. 
Edith  bent  low  and  whispered  to  Biddy,  "  I'll  help 

So  yours  may  be  full  as  tin-  rot." 
"Shure.  I  thank  yez,"  said  Biddy,  "  I'll  pray  to  the  Lord,       • 
♦Tifl  him  shure  will  fill  it  the  best.'1 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS. 

Oh,  the  sweet  childish  faith,  trusting  all  to  the  Lord; 

Could  we  do  the  same  'twould  be  well. 
Just  how  oft  through  the  day  Biddy  breathed  forth  a  prayer 

I'm  sure  it  would  prove  hard  to  tell. 

X. 

"  Oh,  Lord!  fill  up  me  jug,"  was  her  prayer  at  her  work, 

"  Oh,  help  me  to  save  and  to  earn  ;  " 
And  her  mother  one  night  to  her  wee  brother  Pat 

O'erheard  her  say,  "  Patsey,  now  learn 
Afther  sisther  these  words:  '  Lord,  pray  fill  up  the  jug,' " 

"  Pay  bill  for  de  jug,"  lisped  the  boy. 
Biddy  laughed:  "Arrah,  darlint,  shure  that  isn't  right, 

I  don't  think  your  prayers  Til  employ." 

XL 

Biddy's  mother  the  story  told  round  where  she  worked, 

And  many  the  dollar  it  won, 
With  instructions  to  put  it  quite  sly  in  the  jug 

So  Biddy  should  not  know  'twas  done. 
One  kind  lady  a  box  kept,  these  words  on  the  lid, 

"Gold  dollars  for  missions,  left  here." 
Wealthy  friends  left  her  many,  and  all  found  the  way 

To  Biddy's  jug  cherished  so  dear. 

XII. 
Well,  the  day  came  for  breaking  the  jugs,  and  each  gill 

Pressed  forward,  right  eager  to  see. 
Edith's  jug,  broken  first,  proved  eight  dollars  to  hold; 

The  next  contained  eight,  the  next  three. 
Nine  and  five  the  next  two,  then  came  Bridget's,  and  all 
Turned  heads  with  a  sigh,  for  they  thought: 
The  poor  girl  can't  have  much  ;  we  won't  make  her  feel  bad 
By  acting  the  pennies  she  brought." 

XIII. 
."rack'  crack  I  crack!  went  the  jug.    "Ohl  oh!  oh!"  they  all  cried, 

For  pennies  and  dollars  were  there. 
Fifty  golden  bright  coins  mixed  with  one  hundred  cents 

Proved  Biddy's  faith  righl  in  her  prayer. 
May  we  each  take  thif  lesson  right  I le  in  our  hearts 

That  <  Jod  will  do  much  for  us  all, 
If  we  only  will  trust   him.   put    laith  in  our  prayers 

And  believe  lie  u  i!l  answer  our  call. 
6 


82  EMMA   DUNNING  BANKS'S 


LESSON-TALK. 

IU  Begin  the  selection  in  a  simple,  easy,  conversational  manner, 
making  it  bright  and  animated,  so  .is  to  interest  at  once.  Make  a 
slight  pause  after  tln>  word  "like,"  in  line  2,  as  though  hesitating,  for 
a  simile  bright  enough  to  picture  the  little  faces.  In  line  4  make  a  ges- 
ture of  attention  with  forefinger,  to  add  emphasis  to  the  fact  you  are 
disclosing.  In  line  8,  fill  in  the  pause,  represented  by  the  dashes,  by  a 
quaint  little  bob  of  a  courtesy.  Be  very  careful  not  to  make  the  little 
Irish  girl  coarse.  The  brogue  must  be  decided  and  at  the  same  time 
sweet  and  pretty,  evincive  of  the  beauty  of  her  character.  A  careful 
analysis  of  the  selection  will  disclose  this,  and  establish  true  feeling; 
and  with  true  feeling,  one  will  not  go  astray. 

(2)  While  assuming  the  disdainful  character  of  Edie,  speak  to  the 
left.  Break  Biddy's  speech  up  by  little  tremulous,  half  sobs  which  her 
sturdy  pride  would  immediately  choke  back.  Her  grief  and  heart-hurt 
must  be  made  apparent,  so  as  to  win  sympathy  for  her  at  once.  Biddy 
must  speak  to  the  right,  as  she  is  the  more  prominent  character. 

(3)  For  the  teacher's  voice  assume  a  deep,  manly  tone.  In  line  2 
make  a  conversational  gesture,  the  hands  not  far  out,  and  opened 
supinely,  as  though  asking  that  something  might  be  given  you;  and  so 
in  fact  you  are  asking  for  information.  Make  a  slight  prone  descending 
movement  on  the  word  "  drop  "  in  line  4.  Spread  both  hands  apart  on 
the  word  "  all,"  in  line  5.  A  supine  gesture  very  slightly  ascending  on 
tlic  word  "raise"  is  permissible,  and  completes  the  action-work  of  the 
third  stanza. 

(4)  The  brightness  and  vivacity  of  children's  voices  characterize  the 
opening  of  this  stanza,  with  an  easy,  conversational  style  and  appro- 
priate facial  expression  for  the  remainder. 

(5)  Linger  somewhat  on  the  enunciation  of  "  chiming  bells;  "  in  fact, 
an  endeavor  to  make  the  first  two  lines  picturesque,  by  an  artistic  imita- 
tion of  bells,  will  be  appropriate,  always  remembering  that  the  artistic 
effort  is  never  to  overdo.  Make  a  gesture  with  right  hand  behind  the 
ear  ihut  not  touching  it),  .is  though  listening.  Do  not  keep  the  hand 
rigid  or  the  body  stiff,  but  let  arm  and  torso  sway  gently  as  if  in  sym- 
pathy with  the  music  of  the  hells,  ('urve  the  left  arm  to  the  waist-line, 
pointing  to  it  with  the  right  forefinger,  as  though  explaining  the  last 
half  of  line  3.  ( >n  line  ■"■>  make  ;i  front  gesture,  as  though  pointing. out 
Edith  in  the  distance.  He  very  confidential  during  line  G.  Now  comes 
a  very  pretty  bit  of  acting,  if  gracefully  and  not  obtrusively  done. 
"  Suit  the  action  to  the  words."  will  be  suggestion  enough  to  show  thai 
the  left  foot  and  then  the  righi  is  alternately  slid  forth.  Careful 
glances  must  alternate  also,  from  the  Imaginary  Edith  to  the  feet,  as  the 


ORIGIXAL   RECITATIOXS  AND   LESSON-TALKS.         83 

action-Avork  goes  on.     Should  the  dress  be  long,  hold  it  daintily  to  one 
side  with  tips  of  the  fingers. 

Imitate  by  facial  expression  and  appropriate  pauses  the  dismay 
of  Edith.  Then  let  the  face  beam  with  the  delight  Biddy  felt  at  the 
prospect  of  doing  a  good  deed.  Raise  the  voice  in  the  last  line  and 
fairly  shout  out  the  words  in  a  sweet  childish  treble,  but  don't  forget 
the  brogue. 

(7)  Do  not  forget  to  impersonate  Edith  at  the  left  and  Bridget  at 
the  right.  Make  the  interruption  at  the  close  of  line  7  and  first  of  line 8 
very  suddenly.  The  transition  from  the  smooth  tones  of  Edith  to 
Bridget's  quaint  brogue  must  also  be  quickly  done. 

(8)  The  remarks  about  transition  apply  to  this  stanza  also.  A  wave 
of  the  right  hand  backward  can  be  made  suggestive  on  the  words  "  far 
away  off  in  India." 

(9,  10)  Aspirate  the  speech  of  Edith,  render  the  baby's  in  high,  sweet 
tones,  and  make  Biddy's  closing  words  full  of  laughter  and  mirth. 

(11)  Make  use  of  a  pleasant,  colloquial  style  and  slight  movements 
at  times  with  the  hands  to  add  emphasis.  On  line  6  use  the  left  hand 
supinely,  as  though  it  were  the  lid  of  the  box,  tracing  the  words  with 
the  forefinger  of  the  right  hand,  raised  in  the  air,  above  it. 

(12)  Deliver  these  lines  in  a  bright,  interested  manner.  The  last  two 
lines  are  given  somewhat  pityingly  and  sadly,  in  sympathy  with  the 
mood  prompting  them. 

(13)  Now  all  becomes  bustle  and  eager  excitement.  The  three 
"••racks"  are  brought  out  joyously  and  explosively,  each  "oh"  ringing 
out  brighter  and  clearer.  The  movements  of  body  and  limbs  are  all 
forward  and  animated.  Clear,  exultant,  emphatic  tones  are  employed 
during  lines  Sand  4.  The  remaining  lines  are  to  be  delivered  simply 
and  earnestly,  with  astrong  touch  of  reverence  pervading  the  utterance 
Of  each  word. 


A   MERCANTILE  TRANSACTION. 

"  A    POUND  of  jumps!"     The  clerk  looked  in  surprise 
**■    At  little  black  Hose,  with  her  shining  eyes. 

A  pound— of — jumps!"     Rosa  nodded  her  head; 
"A  pound  of  jump-  my  mammy  said." 

"  But,  oij  d«ar.  we've  flour,  and  Bugar  in  Lumps, 

And   peanuts,  bul  aevera  pound  of  jumps. 

We've  walnut-  and  chestnuts  and  corn  that   pops — " 

"Oh,  oh  I  [  forgot  I  It's  a  pound  of  hops  1" 

P.  A.  Humphrey. 


84  EMMA   DUNNING  BANKS'S 


FLOSSIE   LANE'S  MARRIAGE, 
i. 

I'LL  tell  you  all  my  story  now,  and  ask  you  what  you  think; 
Has  not  a  youthful,  Loving  heart  more  worth  than  all  the  clink 
Of  gold  or  treasures  wealth  can  give?     You  say  "it  may  be  sot" 
You  hesitate.     I'll  make  you  sure;  I've  proved  it,  so  1  know. 

II. 

You  see,  'twas  this  way :  My  papa,  was  very  rich  indeed. 
Possessing  so  much  wealth,  you  know,  high  birth  became  his  creed; 
Blue  blood  and  ancient  lineage  alone  his  child  should  win, 
And  1  was  taught  religiously  to  think  all  else  a  sin. 

III. 

And  so  one  day  pa  said  to  me :  "  Now,  Flossie  dear,  prepare 
To  take  a  trip  to  England  soon,  for  you  must  never  dare 
To  think  of  wedding  ought  but  rank  ;  so,  daughter,  have  a  care, 
Your  bonnie  face  and  wealth,  my  child,  shall  win  a  title  there." 

IV. 

Of  course,  it  Avas  a  pleasant  task  to  dream  of  some  young  earl 
Who'd  vow  he'd  give  his  coronet  for  just  one  golden  curl. 
All  eaih  were  handsome — so  I  thought.     Hut  when  Earl  Vandelrim, 
Full  seventy  odd,  pa  chose  for  me — I  cried  my  bright  eyes  dim. 

V. 

One  night,  at  Lady  Blanche  Desard's,  I  met  him,  young  Lance  Lane; 
And  from  that  instant,  heart  and  love  were  ne'er  my  own  again. 
He  had  no  fortune,  all  his  gold  curled  in  his  shining  hair: 
His  eyes  were  laughing,  large  and  dark,  his  manner  debonnaire. 

VI. 

And  easy,  witty,  full  of  grace— and  oh!  his  voice  so  low 
Thrilled  all  my  being  when  lie  said,  to  lose  me  were  "  death's  blow." 
.Manly  ami  tall,  with  white,  set  face,  he  asked  my  sire  forme, 
And  papa  raved,  called  it  "  disgrace,"  and  said  he  "  could  not  see, 

VII. 
"  How  1.  Ins  daughter  born  and  bred,  should  chose  a  handsome  scamp, 
With  naught  Of  wealth  and  naught  of  rank,  in  short — an  artist  tramp!  " 
My  blood  within  me  stirred  -  I  rose  and  told  him  face  to  face 
J'd  marry  Lance  and  counted  it  an  honor,  not  disgrace. 


ORIGINAL   RECITATIONS  AXD   LESSOX-TALKS.         85 

VIII. 

My  darling  caught  me  to  his  breast  and  kissed  me  twice  and  thrice, 
As  turning  proud  to  him  I  said :  "  Love  ranks  above  all  price." 
Lance  turned  to  papa  then,  and  spoke :  "An  honest  man's  no  scamp ; 
And  one  who  earns  his  daily  bread  you  must  not  call  a  tramp. 

IX. 

"  I  plead  with  you  for  Flossie's  hand,  but  not  her  father's  wealth ; 
All  that,  please  God,  I'll  win  for  her  if  he  but  grant  me  health." 
And  once  again  papa  broke  in,  vowed  Lance  and  I  should  part, 
And  took  no  notice  when  I  said  I'd  die  with  broken  heart. 

X. 

We  made  a  trip  'cross  ocean  old,  returning  home  again, 

And  papa  growled :  "You'll  ne'er  more  see  that  fortune-hunter  Lane." 

Ah !  now  the  lonely  days  come  back,  the  nights  so  full  of  tears 

My  young  life  seemed  to  have  no  lack  of  jealous  doubts  and  fears. 

XL 

You  see  my  Lance  was  king  'mong  men,  others  might  love  him  too ! 
Mitfht  win  from  me  his  love  away !  what  could  a  poor  girl  do 
But  weep,  and  wail,  and  wring  her  hands  at  thoughts  of  ladies  fair 
Until  she  really  wicked  grew,  just  longed — to — tear  their  hair! 

XII. 
One  day  there  came  unto  our  door  a  pedler,  bent — like  this, 
Who  limped — just  so— and  mumbled  low,  "  buy  something,  pretty  Miss; 
Here's  ribbons  bine  to  tie  your  hair,  and  match  your  eyes  again." 
Then,  brown  eyes  Hashed  and  laughed  in  mine — it  was — it  was  Lance 
Lane! 

XIII. 
His  own  low  voice  then  thrilled  my  heart  with  just  one  word — "elope." 
He  snatched  a  kiss  and  then  limped  off,  and  I— I— well  I  hope 
It  wasn't  wrong,  tor  oli,  my  heart  was  leaping  mad  with  joy; 
I  held  it  fast  lor  fear  'twould  start  and  follow  him,  my  boy! 

XIV. 
Ami  then  I  read  the  note  he  left,  wrapped  round  a  golden  pin. 
How  could  I  choose?    Say,  do  you  think  eloping  is  a  sin? 

That's  what  we  did'      We  Started  for  a  station  faraway; 

An  accident     t  was  fate,  of  course    detained  us  half  the  day. 

XV. 
Two  ro;nls.    o'er  one  the  engine  Hies ,  the  other,  off  some  ways, 
Semis  clouds  of  dust  behind  the  feel  of  papa's  famous  bays 
Dick.  Harry,  Satan,  and  Bay  Floss  I    -he's  named  for  me,  you  see. 
Pa's  fifteen  thousand  four-in  hand  in  maddening  chase  for  me. 


86  EMMA   DUNNING  BANKS'S 

XVI. 
I  olang  to  Lance,  liis  brown  eyes  Hashed  from  watch  he  held  in  hand 
To  me,  to  train,  then  o'er  the  road!     All!  but  those  bays  were  grand  I 
I'm  Bhouted,  swore,  as  on  they  tore,  and  faster  made  them  run, 
"Hi-i— go  it,  Flossie  1    Satan  fly  1    STe  devils]    They  have  won ! " 

XVII. 
The  train  rushed  in,  we  leaped  on  board,  I  laughed  and  blew  a  kiss; 
"  Good-by,  papa,— it  is  too  bad— the  bays  this  train  should  miss." 
1  laughed  again,  as  we  flew  off,  but  still  dear  Lance  looked  grave, 
And  when  he  whispered—"  telegram,"  1  felt  no  longer  brave. 

XVIII. 
Lance  sat  with  knitted  brow  and  thought,  then  stood  erect  as  any  lord, 
His  young  voice  rang  out  clear—"  Is  there  a  clergyman  on  board?" 
A  sudden  hush,  each  traveler  turned  and  gave  a  wondering  glance, 
And  then  a  tall,  large  man  arose  and  looked  right  straight  at  Lance. 

XIX. 

Lance  showed  our  license,  told  him  all,  and  every  one  was  stirred 
To  sympathy.     The  good  divine  consented  with  one  word 
To  marry  us;  ami  then  occurred  a  strange,  strange  scene  indeed- 
A  marriage  rite  performed  on  board  a  train  at  lightning  speed. 

\\. 
The  good  man  asked  me  if  I'd  take  my  Lance  for  weal  or  woe, 
And  I  said  "  Yes"  with  all  my  heart.     Now — wouldn't  you  do  so? 
Hut  when  he  asked  dear  Lance  the  same,  the  tender,  firm  "  I  will" 
shot  through  my  being  Like  a  flame,  made  nil  my  pulses  thrill. 

XXI. 

A  cheer  from  all  the  passengers  burst  forth  with  joyous  sound; 
Bome  Signed  right  there  as  witnesses  and  crowded  close  around 
Just  a^  the  brakeman  at  t  he  door  called  out  the  station  loud 
And — sure  enough — pa'd  telegraphed  ;  there— a  policeman  bowed, 

XXII. 

Said.  "  I  arrest  Miss  Flossie  Reed."     "  Not  so.  upon  my  life," 

Cried  Lance,  "a  Lrrand  mistake  you've  made;  this  lady  is — my  wife!" 

Papa  gave  in.     He  offered  us  a  fifty-thousand  bond! 

Lance  wouldn't  take  it ;  no,  not  he.     He  said  :  "  Love  ranks  beyond 

Will. 
"All  price.      I've  won  you  for  my  own,  and  my  own  hands  shall  try 
To  win  wealth,  fame  and  lasting  name  before  we  both  shall  die." 

Our  cottage  is  the  prettiest  place  in  all  the  country  round, 

With  just  the  Cutest  window   bay  where  birds  and  flowers  abound. 


ORIGINAL  RECITATIONS  AXD  LESSON-TALKS.         87 

XXIV. 
At  thought  of  that  exciting  chase  between  the  train  and  bays 
We  often  laugh;  and,  well,  life  seems  made  up  of  happy  days. 
And  now,  if  you  are  not  convinced  love  outranks  worldly  pelf, 
Stop  in  to  tea  at  Flossie  Lane's,  and  find  out  for  yourself. 


LESSON-TALK. 

Studying  elocution  in  a  large  city,  and  passing  many  spare  hours 
in  the  art-galleries,  one  day  my  attention  was  especially  attracted  by  a 
larfje  picture  entitled  "  The  Elopement. "  The  scene  was  a  rude  railway 
station,  just  a  mere  shed,  such  as  is  often  seen  in  country  localities  not 
much  frequented.  On  one  of  the  benches  outside  was  a  lady's  satchel 
and  traveling  shawl.  A  man  and  a  woman  stood  on  the  platform. 
The  maiden  had  clasped  both  hands  eagerly  about  the  arm  of  her  com- 
panion. He  held  a  watch  in  his  hand,  and  was  anxiously  scanning  a 
road,  on  which,  in  the  far  distance,  was  an  approaching  locomotive. 
Near  this  road  stretched  another;  and,  although  almost  smothered  in 
dost,  could  be  discerned  a  furiously  driven  team  of  horses.  The  future 
welfare,  or  misery,  or  the  young  people  seemed  to  depend  on  which  got 
there  first— the  train  or  the  father.  The  memory  of  that  picture  led  to 
the  writing  <>t  Flossie  Lane's  Marriage."  The  character  and  mood 
should  he  cheerful,  arch  and  buoyant  throughout.  A  happy  girl-wife 
tells  the  story,  ami  though  at  times  touched  with  a  tinge  of  sadness,  it 
is.  in  the  main,  one  of  innocent  gladness. 

(1)  Begin  in  the  Bilnplest,  most  natural  manner  possible,  and  ask  the 
question  indicated  in  lines  1  and  'I  with  all  honestness  and  sincerity. 
A  little  assumption  of  hesitation  in  speech  ends  line  3.  Finish  the  line 
brightly  and  with  a  pretty,  little  positive  air  of  importance  and  asser- 
tion. 

(2)  A  little  definitive,  conventional  movement  of  the  right  hand  and 
forefinger  on  the  first  few  words;  a  backward  gesture  on  the  words 
"ancient  lineage"  will  constitute  the  act  ion-work,  as  regards  torso  ami 
limbs,  necessary  in  this  stanza.  Facial  expression  and  tin  proper  em- 
phasis of  the  words  must  he  relied  on  for  the  rest. 

Now  comes  a  hit  of  characterization,  and  one  requiring  a  voice 

somewhat  unusual  in  t  he  majority  of  recital  ions.  The  father  is  a  testy, 
choleric  old  gentleman,  very  autocratic  and  arbitrary  over  his  house- 
hold and  daughter,  and  extremely  fond,  wit  ha  1,  of  riding  his  pel  hobby, 
viz. .  rank  and  am-ient  lineage.     Imagine  him  old,  stout  and  inclined  to 

goat,  very  whee/y.  asthmatic  and  exceedingly  pompous  and  domii r- 

ing.     I,et  the  cheeks  puff  and  swell :  ase  extra  effort  to  maintain  a  dig. 


88  EMMA    DUNNING    BANKS'S 

nity  desired  bul  not  possessed,  standing  meanwhile  in  the  breadths, 
with  feet  w  ide  apart.     You  remember  we  are  told  that  conscious  weak- 

Dess  assumes  strong  attitudes.     Give  vent  toa  wheezing,  barking,  b « 

what  growling  sort  of  noise  for  a  voice,  with  many  hesitancies  and 
clearings  of  the  throat  throughout  the  speech  of  the  haughty  old  father 
as  he  lays  down  the  law  to  his  daughter. 

(i)  A  combined  right-hand  gesture,  designating  an  imaginary  coronet 
and  sweep  of  floating  curls,  is  permissible  in  line  2.  Strong  disgust  and 
aversion  must  be  evinced  by  the  facial  expression  during  the  close  of 
line:?  and  the  beginning  of  line  4.  A  little  hesitancy  and  suggestion  of 
a  pout  marks  the  girlish  confession  closing  the  stanza. 

(5)  Artless  and  earnest  depth  of  feeling,  pride  and  joy,  intensifying 
the  young  wife's  words  when  speaking  of  her  lover,  but  not  much  gest- 
ure. 

(6)  On  the  word  "  oh,"  in  line  1,  let  the  hands  come  together  with  a 
swift  intensity  of  movement,  clasping  them  tighter  and  tighter  still 
with  the  excitement  of  feeling  until  the  close  of  line  2.  At  the  close  is 
introduced  once  more  the  characterization  of  the  father. 

(?>  The  old  gentleman  is  now  exceedingly  angry.  He  is  at  a  white 
heat  of  irritation;  consequently  he  totters,  his  hands  shake,  and  the 
wheezy,  barky  voice  is  in  a  perfect  tremor  of  rage.  He  finishes  his 
violence  with  an  emphatic  stamp  of  the  foot  as  he  growls  out  the 
epithet,  artist  tramp.*1  An  exhibition  of  insane  rage  always  verges 
somewhat  on  the  ridiculous.  It  cannot  command  respect,  therefore 
ridicule  has  the  fuller  sway.  Do  not,  however,  try  to  raisea  laugh  with 
t  hi- character.  Throw  yourself  into  it;  imagine  yourself  insanely  en- 
raged. The  more  in  earnest,  the  plainer  will  be  the  picture  of  the 
unreasonable  old  man,  and  the  greater  the  amusement  of  the  audience. 
Lei  the  right  hand  make  an  ascending  gesture  on  "honor.'*  and  a 
descending  prone  movement  to  emphasize  the  word  "  disgrace." 

(8)  A  light,  sudden  crossing  of  the  hands  over  the  heart,  leaving  the 
right  hand  uppermost;  then  a  quick,  flashing  gesture  of  finger  from 
the  lips,  just  suggesting  a  kiss,  no  more,  will  prove  suitable  action-work 
for  line  1.  The  enunciation  must  he  quick  and  sudden,  corresponding 
with  the  Hash  of  feeling  and  gesture.  The  character  of  Lance  is  manly, 
firm  and  poised,  and  voice  and  bearing  must  evince  these  qualities 
accordingly. 

(U,  A  movement  of  the  supine  hand  toward  the  father  on  the  word 
"  you.''  then  a  [.rone  gesture  as  though  discarding  something  on  "  not," 
may  be  observed  in  line  I.  A  reverent  upward  movement  of  face  and 
hand,  as  though  invoking  aid.  will  prove  effective  during  line 2,  and 
finishes  whatever  i--  required  <>f  gesture. 

(10)  Gestures  will  suggest    themselves.      The  pretty,  piquant,  sad- 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         89 

dened  mood  of  the  girl,  as  she  remembers  and  almost  re-lives  her 
former  doubts  and  sufferings,  may  be  made  very  attractive. 

(11)  The  last  line  of  this  stanza  is  a  girlish  confession,  half-daring, 
half-abashed,  of  mingled  jealousy,  penitence  and  shame.  The  daring 
as  well  as  shame  has  full  sway  in  the  last  three  words.  There  is  an  in 
voluntary  clawing  movement  of  the  hands,  half-yielded  to,  half-sup- 
pressed; the  facial  expression  corresponds,  while  the  words  burst  forth 
in  a  whisper.  If  you  have  not  already  done  so,  practice  whispering 
until  you  may  be  distinctly  heard  all  over  a  large  hall. 

(12)  Bend  low.  limp  a  little,  draw  the  upper  and  under  lip  in  until 
the  teeth  are  completely  covered,  half-close  the  eyes,  and  then  with 
wavering,  cracked  voice  and  trembling  gestures,  attempt  the  character- 
ization of  the  old  pedler.  After  the  conjunction  "and"  in  line  3  intro- 
duce a  thin,  cackling  sort  of  laugh,  consisting  mainly  of  a  repetition  of 
the  syllable  ha.  Clasp  the  hands  together  in  a  sudden  ecstasy  of  joy  on 
the  words  "  it  was— it  was  Lance  Lane." 

(13)  Aspirate  the  word  "elope."  By  the  workings  of  the  hands  to- 
gether and  apart,  show  a  little  uncertainty  and  timidity  during  the 
closing  sentence  of  line  3.  Immediately  after,  however,  all  doubts  are 
thrown  to  the  wind,  and  the  words  leap  boldly,  joyously  forth.  Both 
hand-  clasp  about  the  heart,  then  separate  and  extend  forward  obliquely 
on  tin-  word  "follow."  then  clasp  together  tenderly  on  the  words  "  my 
boy." 

(14)  Much  the  same  mood  prevails  through  this  stanza. 

(15)  Locate  both  roads  to  tin-  left,  point  first  with  the  right  and  then 
with  tin-  left  hand.  .Make  a  circular  movement  in  the  air,  rolling  one 
hand  over  the  other,  while  describing  the  clouds  of  dust.  Surest 
h  shading  of  the  eyes  with  right  hand,  and  then,  with  surprise  tinging 
the  tone,  close  line  ",'.  The  movements  of  the  right  forefinger  should 
he  quick  a-  a  flash  as  the  different  horses  are  described  and  named.  A 
turn  of  the  head  to  the  audience  and  touch  of  the  forefinger  to  the 
breast  on  the  word  "me"  finishes  the  action-work  for  line  '■'>.  and  the 
stanza.  Movement  and  tone  throughout  must  he  spirited,  and  fairly 
glow  with  excitement , 

1  l'ii  The  excitement  of  tone  and  movement  increases  in  intensity  from 
beginning  to  end  of  this  stanza.  The  use  of  the  forefinger  in  pointing 
will  suLru''-t  itself  in  line  .'  Take  a  deeply-drawn  breath,  and  make  a 
strong  wave  and  slide  of  tin-  voice  on  the  interjection  "ah,"  clasping  the 
hands  together  in  an  intensity  ol  admiration.  Let  strong  excitement 
and  rapidity  of  utterance  give  character  to  the  voire  in  line  8.  Try  and 
feel  for  the  moment  as  though  you  were  behind  those  Aery  steeds, 
racing  along  at  break-neck  speed  Assume  the  driving  attitude. 
Urge  on  your  steeds  I    Paster  I    Faster  yetl    Prolong  "H-i-i  I"    bet  the 


90  EMMA   DUNNING  BANKS'S 

voice  ring  out.  No  asthmatic  wheeze  now.  only  the  clarion  tones  of 
exhilaration  and  excitement.  Raise  your  hand  and  down  with  the 
lash.  "Ye  devils "  (or  "  ye  furies,'1  if  preferred),  you  must  give  it  up. 
They  have  won  | 

(IT)  A  merry,  ringing  laugh  is  very  effective  at  the  beginning  of  line 
■J.  and  wherever  the  dashes  are  introduced  throughout  it. 

(22)  One  new  character  figures  briefly  here.  Spread  the  left  hand  as 
though  it  were  a  legal  document,  adjust  imaginary  eye-glasses,  and 
with  many  preliminary  hems  and  haws  enact  the  little  speech  of  the 
policeman.  A  natural,  easy,  conversational  style  should  characterize 
this  selection  right  through,  and  in  this  manner  you  may  finish.  Much 
Of  quiet  humor  and  a  delicate  appreciation  of  the  situation  may  be  put 
in  the  words  "  papa  gave  in." 

(24)  Hesitate  before  the  line  closing  the  selection,  as  though  uncer- 
tain what  to  do  if  people  were  not  convinced  of  the  supremacy  of  love 
over  rank  and  wealth.  Then  give  your  invitation  to  tea,  with  mingled 
archness  and  pleasantry,  make  your  little  courtesy  and  let  Flossie 
Lane  retire. 


HER  NAME. 

a  T'Mlosted!  Could  you  find  me,  please?"  Poor  little  frightened  baby! 
1      The  wind  lias  tossed  her  golden  fleece,  the  stones  have  scratched 
her  dimpled  knees. 
J  stoop  and  lifted  her  with  ease,  and  softly  whispered,  "  Maybe." 

"Tell  me  your  name,  my  little  maid;  I  can't  find  you  without  it." 
"  My  name  is  Shiny  Kves'  "  she  said.     "  Yes,  but  your  last'.'"  She  shook 
her  head ; 
I  |>  t<>  my  house  zey  never  said  a  single  fing  about  it." 

"But,  dear."  I  said,  "what  is  your  name'.'"     "Why,  didn't  you  hear  me 

told  you  ? — 
Dost  shiny  Kves!"    A  bright  thought  came:  "Yes,  when  you'regood; 

hut  w hen  they  blame 
"ion.  littl.- one.  i>t  ju-t  the  same  when  mamma  has  to  scold  you?" 

"  My  mamma  never  SCOlds,"  she  moans,  a  little   blush  ensuing, 
" '<  Vpt  when  I've  been  a-f rowing  stones;  ami    then   she  says"  (the  cul- 
prit owns). 
"  Mehitable  Saphira  Jones!   what  has-yombeen-a-doing!  " 


ORIGINAL  RECITATIONS  AND   LESSON-TALKS.         91 

A   ROMAN  VALENTINE. 
1. 

i  i  S~\  Maro,  doff  your  cestus,  and  drop  year  garments  white, 
^-^     You'll  clothe  yourself  in  sackcloth,  I  fear,  to-morrow  night 
Should  some  one  not  your  lover  your  hand  and  fortune  win; 
Ah,  woe!     I  sometimes  think  me  that '  valentine  '  means  sin." 
Thus  to  the  Lady  Maro  spoke  Flavia,  her  maid, 
With  trembling  voice  and  faltering,  for  she  was  sore  afraid. 
T'ih  place  was  Rome,  the  ancient,  the  speaker,  too,  was  old; 
The  maiden  flushed  and  lovely,  with  hair  like  bright  spun  gold. 

II. 

"  0  Flavia,"  spoke  the  maiden,  "  our  good  St.  Valentine 
Will  sure  protect  Edonis  and  make  his  wooing  mine." 
Love's  accents  thrilled  like  music  through  all  her  voice,  a  hush 
The  proud  patrician  face  fell  o'er,  flamed  with  a  lovely  blush. 
Then  Flavia  spoke :  "  Remember,  this  year  each  maid  her  name 
Puts  twice  into  the  boxes,  and  so  in  this  year's  game 
Bach  maid  will  have  two  suitors;  the  emperor  will  choose 
Him  she  shall  wed.     You  dare  not  his  lordly  will  refuse. 

III. 

"  How  if  repulsed  Bassanius  should  draw  your  name  this  year? 
High  ranks  he  'mong  the  courtiers,  the  emperor  holds  him  dear." 
Like  marble  seemed  fair  Maro,  save  for  her  rising  breath: 

"Ere  I  would  wed  Bassanius,  this,  this,  should  give  me  death  I" 
Her  snowy  hand  a  second  gleamed  'gainst  the  azure  sky, 
A  dagger  clasped  within  it  showed  how  she  meant  to  die. 
The  air  was  wild  with  sobbing,  as  Flavia  wept  and  wailed, 
And  prophesied  ill  tidings,  till  Afaro's  courage  failed. 

IV. 
"0  Flavia,  dear  nurse  Flavia,  sit  up  and  bid  me  cheer; 
My  father's  hand  was  valiant,  the  emperor  held  him  dear. 
I  am  Qalleo's  daughter,  Valerian  knows  I  hate 
Bassanius,  love  Edonia    I'll  trust  him  with  my  fate." 
A  cloake.i  form  in  t  he  doorway  with  menace  clinched  his  hand, 

Then  st  rode  within  the  porta  1,  as  one  horn  to  comma  ml. 
"And  so  you   hate   JJassanills;    well,   girl,    We'll   leave  i!   so; 
Jso  Roman  ho  who  o'er  doth  mind  a  woman's  hate,  I  trow. 


g2  EMMA   DUNNING  BANKS'S 

V. 
"  But  when  my  hand  is  drawing,  I'll  pray  St.  Valentine 
To  slip  your  aame  within  it,  most  haughty  Maro  mine. 
Ami  should  it  please  his  saintship  to  grant  my  modest  hope, 
I'll  show  a  master  spirit,  lit  with  your  own  to  cope. 
Now,  twice  you  have  repulsed  me,  the  third  time  1  shall  win, 
And  'hate's'  a  word  Bassanius  will  teach  you  is  a  sin." 
Along  the  marble  echoed  his  haughty  footsteps'  stride, 
While  Maro  spoke  out  boldly:  "  Ere  1  will  he  your  bride, 

VI. 

"I'll  fling  this  frail,  fair  body  from  some  tall  mountain's  height; 
Morn  may  not  wed  with  evening,  nor  darkness  mate  with  light." 
The  Lupercalia  dawning,  a  messenger  there  came, 
With  news  that  old  Bassanius  with  Edonis  laid  claim 
Upon  the  hand  of  Maro.     The  emperor  declared 
That  he  who  within  four  days  the  bravest  deed  had  dared 
Should  wed  the  lovely  maiden,  and  from  this  high  decree 
No  change  should  be  permitted,  though  sued  for  on  the  knee. 

•VII. 

On  that  same  night  an  illness  put  Edonis  to  bed, 
And  Flavia  wailed  :  "  Bassanius,  Maro  will  have  to  wed." 
The  third  day  dashed  the  emperor,  with  six  grand  horses  white, 
Adown  the  street,  and  sudden  the  beasts  ran  mad  with  fright. 
The  coward  crowd  fled  shrieking,  Valerian's  death  seemed  near, 
A  hand  grasped  foremost  bridle!     Bassanius  doth  appear! 
The  iron  of  his  pressure,  each  frantic,  rearing  beast 
Acknowledges.    Bassanius  is  taken  home  to  feast 

VIII. 
With  all  tin-  emperor's  family.     Sank  Maro's  heart  like  lead: 
Firmly  she  vows  within  her:  "  Edonis1  wife,  or— dead!" 
'Twas  noontime  on  the  fourth  day.    A  jeering  crowd  stood  round 
A  woman,  mud -bed  railed,  with  iron  fetters  bound; 
Ber  Ion-.'  black  hair  was  streaming,  the  ripples  hid  her  face, 
She  shuddered  when  Bassanius  cried ;  "A  nice  thing  to  embrace! 
The  empress  must  in-  maddened  to  offer  her  her  life, 
It  some  high-bred  patrician  will  take  her  home  to  wife. 

IX. 
"Come,  jailor,  pitch  your  beggar  back  to  her  prison  cell; 
-  ich  lives  are  not  worth  saving."      Down  on  her  knees  she  fell; 


ORIGINAL   RECITATIONS   AND   LESSON- TALK'S. 

"  I  pray  you,  gentle  Roman,  I  pray  you  heed  my  cry ; 
For  she  who  kneels  before  you  ere  many  days  will  die. 
Disease  is  fastened  on  me,  I  long  to  end  my  life 
Not  by  an  execution,  but  in  some  home,  a  wife." 
The  rabble  flout  and  spurn  her.     "  AVhat!     Stoop  us  down  so  low 
Tu  pick  the  dirt  beneath  us,  when  one  may  win  the  snow 

X. 

"  Of  some  fair,  dainty  maiden !    Ah,  no ! "  and  "  No !  no !  no ! 
Back,  wretch!  back,  low-born  traitress!  back  to  your  cell  you  go : " 
Edonis  burst  among  them,  with  crimson  flushed  his  cheek; 
H  is  eyes  were  black  with  anger.     "  Ye  cowards !     I  am  weak 
And  worn  with  recent  illness,  else  would  my  strong  right  hand 
Strike  right  and  left  among  you,  ye  craven,  brutal  band! 
This  poor,  defenceless  woman  I  will  take  home  to  wife; 
Bassanius  weds  with  Maro.     Come,  friend,  I'll  save  your  life." 

XI. 

I  )iip  silence  fell  among  them.     Edonis  reached  his  hand 
Down  to  the  lonely  woman — that  gesture  made  him    ;rand. 
'  From  daring  deeds,'"  he  murmured,  "  my  illness  held  me  back; 
Twas  fate  sent  out  Bassanius  to  stop  the  horses1  track." 

■  Not  so,  my  brave  Edonis,"  a  voice  like  music  cried; 

Fate  -'in  me  here  to  try  you.  and  fate  makes  me  your  bride." 
Be  turned,  and  lo!  'twas  Maro,  fair,  innocent  and  sweet; 
The  jetty  tresses  vanished,  her  tatters  at  her  feet. 

XII. 

■  'Twas  love's  disguise,  Edonis,  the  empress  bade  me  wear. 
To  prove  if  deed  so  godlike,  your  spirit  brave  would  dare." 
A  burst  of  martial  music.     Valerian's  chariot  came, 

A  herald's  voice  cried  loudly:  "This  deed,  like  some  white  flame, 
Leaps  high  o'er  muscle  bravery,  and  in  Valerian's  name 
Proclaim  I  that  Edonis  fair  Maro'shand  shall  claim.'' 

■  The  gods  i>e  praised,"  cried  Maro,  "and  praise  St.  Valentine, 
And  praise  the  empress ;  through  her,  Edonis,  [am  thine  I" 


93 


TJ'.ssoN  TALK. 

The  valentine  custom  originated  with  the  ancient  Romans.    On  the 

Nth  daj  of  February,  the  day  before  the  feast  <>('  the  Lupercalia,  the 

•ones  of  a  Belecl  number  of  one  sex  were  put  in  a  receptacle  and  chosen 

.  an  equal  number  of  the  other  sex.    The   person    whose  no was 


94  EMMA  DUNNING  BANKS'S 

drawn  was  known  as  the  "  valentine"  of  the  one  who  drew  the  name, 
and  in  one  form  or  another  the  custom  lias  lived  and  spread  over  many 
lands  until  the  present  day. 

(it  Begin  the  selection  in  a  cracked,  quavering  voice,  indicative  of 
age,  and  speak  to  the  left.  Sorrow  and  grief  must  color  the  tones.  In 
the  gestures,  the  hands  are  sometimes  thrown  out  despairingly,  and 
then  wrung  in  distress  and  despair.  'Phis  is  continued  during  the  first 
four  lines.  The  attitude  is  bent  and  feeble,  the  eyes  half  shut,  and  the 
entire  facial  expression  may  he  changed,  and  the  cracked  voice  of  the 
old  nurse  simulated  to  better  advantage  if  the  upper  lip  is  drawn  closely 
over  the  teeth,  thus  giving  the  appearance  of  tooth  Lessness  and  old  age. 
Finish  the  stanza  without  further  gesture.  If  preferred,  the  first  stanza 
may  l>e  transposed,  putting  the  last  four  lines  first,  and  closing  the 
stanza  with  the  impersonation  of  Flavia,  the  nurse. 

(2)  Let  Maro  speak  obliquely  to  the  right.  The  words,  "spoke  the 
maiden,"  give  directly  to  the  audience,  then  proceed  with  Maro.  On 
line  '-2.  a  confident  nod  of  the  head  must  be  given  on  the  word 
"  >ure."  and  a  loving  tenderness  thrills  through  the  remaining  words, 
finishing  by  a  charming  gesture  by  letting  the  hands  move  slowly  up, 
and  a  little  more  than  the  tips  of  the  fingers  loosely  interlace  themselves 
against  lae  breast  on  the  words  "  his  wooing  mine."  Again  comes  the 
impersonation  of  Flavia.  This  time  she  makes  quick  little  definitive 
gestures  of  the  hand  and  fingers;  for  instance,  holding  two  fingers  to 
enumerate  the  suitors.  In  line  8,  pause  after  "  you,"  and  fill  it  in  by  an 
upward  warding  off  of  both  hands  and  a  shaking  of  the  head,  expressive 
of  utter  hopelessness. 

(3)  Flavia  must  seem  to  creep  slightly  nearer,  now,  and  bring  out 
her  words  as  if  desirous  of  making  them  convincing.  Lines  3,  5  and  (i 
will  illustrate  the  position,  sentiment  and  gesture  required  in  line  4. 
When  the  word  "this"  is  repeated  for  the  first  time,  let  the  right  hand 
grasp  an  imaginary  dagger  in  the  left  belt,  then  let  it  rise  swiftly  in 
air  and  hold  it  on  the  repetition  of  the  word  "  this"  and  those  following. 

<4>  Slightly  bend  to  show  that  the  girl  would  help  Flavia  to  rise. 
'I'll'-  tone  is  distressed  during  lines  l  and  2,  as  though  striving  to  reassure 
herself.  Tin-  form  is  erect,  and  the  tone  alive  with  pride  on  "1  am 
Galleo's  daughter."  More  confidence  creeps  in  with  the  loved  name  of 
"  I'.donis,"  and  unfaltering  determination  rings  through  the  remainder. 
Lines  7  and  8  belong  to  Bassanius.  He  takes  a  proud  attitude,  laying 
one  arm  above  the  other  on  the  chest.  His  voice  is  low,  sardonic, 
t.-ii-.-.  ami  expressive  Of  the  bitterest  revenge  and  scorn. 

3  Willi  the  word  "  but."  the  arms  unfold,  hands  clinch,  each  word 
comes  forth  with  Btinging,  galling  strength  of  emphasis.  On  the  words 
"slip  your  name  within  it,"  the  right  hand  unclinches  and  comes  for- 


ORIGIXAL   RECITATIONS  A  XL)   LESSON-TALKS.         95 

ward,  seeming  to  grasp  exultantly  an  imaginary  slip  of  paper.  Let 
both  hands  come  forth  mockingly  during  last  half  of  line  2.  When 
speaking  of  his  "  saintship,"  a  high  upward  sweep  of  right  hand  and 
arm  is  permissible.  This  pose  may  be  maintained,  and  the  hand  given 
an  additional  impulse  to  evince  the  "master  spirit."  As  you  say,  "fit 
with  youi-  own,"  let  the  arm  come  down  horizontally  with  the  shoulder, 
and  the  hand  be  outstretched  supinely;  and  on  the  words  "to  cope," 
let  them  drop  to  the  side.  Deliver  lines  7  and  8  as  if  about  to  leave, 
looking  over  the  shoulder. 

(6)  Ring  Maro's  words  out  defiantly,  boldly.  Remainder  is  explana- 
tory. 

(?)  Wring  the  hands  while  impersonating  Flavia's  distress.  Then  let 
the  right  hand  unclasp  ami  come  forward  with  the  body  to  insure  atten- 
tion. Now  comes  a  somewhat  excited  gesture,  as  though  seeing  the 
horses  dash  down  the  road.  After  the  conjunction  "and,'1  in  line  4, 
start  back  as  you  imagine  the  frightened  horses.  Make  a  somewhat 
scornful  movement  to  begin  line  5.  The  hand  closes  in  sympathy  with 
the  one  who  grasps  the  bridle,  then  slowly  relaxes  and  dropsto  the  side 
as  you  say  somewhat  hopelessly,  for  you  have  no  sympathy  with  him, 
"  Bassanius  doth  appear." 

(8)  Strongly  emphasize  the  words  "  sank  "  and  "  lead,"  also  ring  out 
the  word  "  firmly"  in  such  a  manner  as  to  color  its  meaning  decisively. 
Invincible  will  marks  the  words,  "  Kdonis'  wife  or — dead."  Introduce 
sneering  Ac  hcCs  during  the  speech  of  Bassanius,  and  strong,  full-arm 
gestures  as  lie  points  out  the  woman  in  deriding  scorn. 

(9)  Do  not  kneel  during  the  pleading  of  the  unknown  woman. 
Standing,  the  bent  knee  is  equally  effective,  except  in  extreme  cases  of 
exalted  passion.  Do  not  rant  out  the  appeal  of  the  woman  in  aloud 
voice.  Tones  soft,  tender  and  humble  in  supplication  will  be  found 
more  artistic,  especially  if  marked  by  frequent  pauses.  Scornful  emphasis 
must  characterize  the  jeers  and  shouts  of  the  rabble,  as  they  are  sup- 
posed to  take  their  cue  from  the  haughty  Bassanius. 

(in.  iii  The  deep  voice  of  Edonis  rings  with  lofty  contempt  and  in- 
dignation Bpeaking  in  tone,  glance  and  gesture.  Action  and  sentiment 
promptly  suggest  themselves.  Let  the  head  droop  in  resigned  despair 
during  line  1  of  the  eleventh  stanza.     A  downward  gesture  is  permissible 

;it   t  he  close  of  the  -l;ili/.;t. 

(12)  A.  gentle,  loving  tenderness  chimes  softly  in  the  voice  of  Bfaro. 
Joyful  exultation  peals  through  that  of  the  herald,  while  Maro's  closing 
words  are  filled  with  thankfulness  and  peace,  making  an  obeisance  t<> 
tli'-  left  when  designating  the  empress,  and  closing  with  hands  out- 
stretched to t he  right, 


g6  EMMA   DUNNLXu   BANKS'S 


A  RUSSIAN  CHRISTMAS, 
i. 

THROUGHOUT  Russia  in  December  glitter  icicles  and  snow 
Prom  the  peaks  of  the  Lce-mountains  to  the  skating-grounds  below. 
Jingle  sleigh  bells,  crashes  music,  float  forth  peals  of  merry  mirth, 
Ringing  from  llic  lips  of  maidens,  mse-lipped  girls  of  Russian  birth. 
Gliding  o'er  the  sparkling  ice-ground,  swaying  with  a  dainty  grace, 
Robed  in  sable  fur  and  velvet,  comes  the  queen  of  all  the  race. 
Prom  an  azure  velvet  background  glints  her  curling  golden  hair; 
Men  draw  breath  in  rapture,  wonder,  as  they  note  the  form  so  fair. 

II. 
Aa  she  whirls  with  laughing  challenge,  one  leaps  forward  to  her  side, 
(  Hasps  her  hand,  and  to  the  music  dashes  on  with  daring  stride. 
'Tis  a  tVtr  day  for  the  nobles,  and  the  swiftest  racing  pair 
From  t  lie  czar  receive  at  <  Ihristmas  for  their  skill  some  gift  most  rare. 
Swifter  glide  the  foremost  skaters;  swifter  dart  those  in  the  rear; 
Whirl  they  now  before  the  judges — now — the  second  goal  they  clear. 
steady.    Ilva!'1   "Swifter,   Othmarl"   "They  will  pass  you  ere    you 
know : " 
Then  for  answer  the  contestants  faster — faster — faster  go. 

III. 
Laughing  gladly,  skating  madly,  but  with  swaying  grace  secure, 
<  lountess  Qva  and  Prince  Othmar  gauge  their  powers  to  endure. 
'Tis  the  last  round  now,  and  so  far  they  have  held  the  winning  place; 
Leaning  forward,  all  the  people  breathlessly  now  watch  the  race. 
"Oh!  oh!    oh!"  broke  forth  in   horror;  "oh!   oh!  oh!'1    burst  forth  in 

wrath, 
A^  M>me  hand  in  jealous  fury  slid  a  log  across  their  path. 
Will  it  stop  them  ?     Will  it  throw  them?     Will  it  break  or  maim  a  limb? 
Then  all  turn  their  gaze  on  <  (thinar,  for  all  hopes  depend  on  him. 

IV. 

( Ithmar's  quick  glance  saw  the  danger,  and,  like  lightning-flash,  his  eyes 
Turn  one  searching  ray  on  [lva.    "  I  >earone,  trust  my  strength,  be  wise — 
Lean  upon  my  side  one  instant,  with  your  weight  thrown  off  the  ground." 
Thrills  he  'neath  her  arm's  swift  pressure,  as  with  one  impulsive  bound 
Skilful,  graceful,  daring,  certain,  he  has  leaped  the  dangerous  place; 
In  his  arms  the  fainting  Ilva,  but— the  pair  have  won  the  rare! 
Bravofl  filled  the  air  around  them,  cheers  uprose  on  every  side; 
Some  one  cried:  "  My  curse  on  Othmar ;  Ilva  ne'er  shall  be  his  bride!" 


OK  I G IX A  L   RECITATIONS  AND   LESSON-TALKS.         97 

Quick  the  curse  and  quick  the  speaker,  for  he  vanished  soon  as  heard, 
Tho1  all  searched  they  could  not  find  him,  and  all  soon  forgot  his  word, 
All  but  Ilva.     She  remembered,  and  she  shuddered  as  she  said : 
'"  Log  and  curse  speak  one  dread  message;  act  and  word  wish  Othmar 

dead." 
1  Vtersburg's  grand  winter  palace  blazed  with  sparkling,  twinkling  light, 
When  a  royal  ball  was  given  by  the  czar  on  Christmas  night. 
All  the  air  was  sweet  with  perfume,  diamonds  glittered,  jewels  rare 
(i learned  from  snowy,  dimpled  shoulders;  women  dainty,  maidens  fair, 

VI. 

Linked  their  perfect  arms  with  soldiers  in  their  uniforms  arrayed. 

But  the  fairest  Russian  floweret  was  our  erstwhile  skater  maid, 

(  !ountess  Ilvarene  di  Gloski,  with  her  lover  at  her  side, 

Brave  Prince  Othmar;  and  all  Russia  knew  that  soon  she'd  be  his  bride 

But  a  week  scarce  passed  ere  Russia,  all  of  Russia  heard  this  news- 

That  the  czar  the  hand  of  Ilva  to  Prince  Othmar  did  refuse. 

Moie  :  that  guilty  of  high  treason,  to  Siberia  he'd  been  sent, 

There  to  languish  all  his  life-time,  all  his  years  in  labor  spent. 

VII. 

Ilva  moaned  :  "  'Tie  false  and  cruel!  Othmar's  loyal  to  the  core! 
Trace  The  man  whose  jealous  fury  threw  that  log,  and  at  his  door 
Will  be  found  the  crime  of  treason."     Then  throughout  that  long,  long 

>  ear 
Ilva  never  smiled:  but  pined  so,  that  her  friends  began  to  fear 
That  her  rea-son  soon  would  leave  her,  mourning  so  beneath  her  blow. 
Then  one  noonday  came  a  mandate  from  the  czar  that  she  must  go 
With  her  friends  and  join  the  skaters;  must  contest  once  more  a  race 
Hut  this  year  the  game  was  different,  each  contestant  masked  his  fac«; 

VIII. 

And  until  the  ball  at  <  'hri-t  m.ts  in  the  palace  hall  took  place. 

It    woidd   not   be   known  which   skaters,  'inong  them   all,  had   won   the 

race. 
Ilv;i  went  reluctant,  angry.    <  >nce  more  on  the  skating  ground. 

All  her  Russian  pride  upheld  her.  and  she  felt  her  pulses  bound 

A-  -he  thought     "  I'll  try  and  win  it.  and  for  gift  at  <  'hristmas  time, 

I   will  plead  that   I  be  biinished.  banished  to  Siberia's  clime." 

Once  more  whirled  the  merry  skaters,  once  more  some  one  gained  her 

side. 

Clasped  ber  hand  and  led  her  boldly,  Bwepl  on  with  familiar  stride. 

7 


98  EMMA   DUNNING  BANKS'S 

IX.  , 
Once  she  caught  her  breath  and  held  it  with  a  joy  akin  to  pain, 
For  the  skater's  clasp  seemed  Othmar's;  <  )t lunar  seemed  with  her  again. 
Through  her  veins  the  blood  flew  dancing,  wilder  whirled  the  skaters1 

pace, 
And  a  voice  chimed  through  the  music,  singing:  "  Win,  win,  win  the  race; 
You've  a  noble  skater  with  you,  almost  lias  he  Otlnuar's  skill; 
Win  and  ask  the  e/.ar  to  banish,  banish  you  at  your  own  will." 
Needless  'tis  to  tell  they  won  it,  or  to  paint  once  more  the  ball. 
Or  the  scenes  where  saddened  Ilva  still  shone  fairest  of  them  all. 

X. 

Oh.  the  hush  that  fell  among  them  when  right  loudly  'twas  proclaimed: 
"Silence!  that  the  race  contestants  and  the  winners  may  be  named. 
Silence!    'Tis  the  czar  commands  it,  and  desires  it  to  be  read 
That  the  winners  in  the  race  shall,  by  his  royal  wish,  be  wed!" 
Down  upon  her  knees  fell  Ilva:  "  Sire,  I  crave  your  pitying  ^race; 
Wed  me  not  onto  this  stranger,  who  did  help  me  win  the  race. 
Sire.  I  worked  and  strove  to  win  it;  hoped  to  offer  you  this  prayer: 
That  my  wretched  self  you'd  banish,  let  me  Othmar's  trials  share." 

XI. 

Then  a  smile  warm  as  the  sunshine,  lighted  up  the  czar's  sad  face: 
"Countess  Ilva,  1m-  of  good  cheer,  'twas  Prince  Othmar  won  the  race. 
Otlnuar's  innocence  was  proven,  and  1  sent  him  glad  recall, 
Planned  to  give  him  Princess  Ilva  at  our  merry  Christmas  ball." 
All  unmasked.     Prince  Othmar  stepped  forth,  led  fair  Ilva  by  the  hand 
Where  within  the  old  Greek  chapel,  incense  burned.     A  golden  band 
Placed  upon  her  marriage  finger;  'neath  the  glittering  waxen  light 
Of  the  Greek  cross  wedded  Ilva,  on  that  Russian  Christmas  night. 


LESS,  i  N  TALK. 

H)  Line  1  Lb  easy  description  without  gesture,  that  the  action-work 
may  commence  with  an  ascending  gesture  on  "  ice-mountains, "  merg- 
ing into  a  slightly  spreading,  descending  movement  to  designate  "the 
Bkating-grounds  below. n  The  music  and  mirthfulness  of  the  next  two 
lines  depend  entirely  upon  voice-effect  guided  by  feeling.  During  the 
next  four  lines,  while  describing  the  pretty  picture  of  the  young  queen 
of  the  Bkating-race,  point  her  out  with  pleased  attention,  seeming  to 
abandon  yourself  in  sympathy  with  her  Bwaying,  graceful  motion. 

8)  With  the  eyes  fixed  on  the  merry  scene  in  the  distance,  a  sort 
of  Bemi-circular  movement  accompanied  by  a  rotary  motion  of  torso  at 
the  wai.-t  line  will  serve  1"  illustrate  the  whirling  challenge;   then  to 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.         99 

point  out  her  companion  in  the  race,  the  right  hand  darts  forth  and 
the  whole  attitude  is  forward  and  vehement.  In  line  5  begins  the  de- 
scription of  the  race;  and  in  order  to  render  it  effectively  you  must  feel 
yourself  imbued  with  a  truly  racing  spirit ;  gesture,  body,  eyes  and  face 
all  express  fire  and  animated  attention.  Picture  an  imaginary  ring; 
locate  your  goals,  your  judges'  stand;  start  the  competitors  from  a 
certain  point,  and  let  voice  and  torso  seem  to  sway  with  them  as  they 
circle  round.  With  strong,  steady  voice  call,  "  Steady,  Ilva! "  '*  Swifter, 
Othmar!"  etc.  Continue  the  excitement  through  third  stanza.  Bring 
out  the  "  Oh's  "  in  line  5  of  the  third  stanza  strongly,  coloring  them  with 
alternate  horror  and  wrath,  and  let  the  same  sentiments  commingle  in 
line  7. 

(4)  Othmar's  voice  is  deep  and  rings  with  determination.  As  the 
result  of  the  leap  is  watched  for,  bring  out  the  adjectives  in  line  5,  in  a 
manner  strongly  evincive  of  admiration  and  exultation.  A  harshly 
defiant  tone  is  employed  for  the  line  embodying  a  curse. 

(5,  6)  Ilva's  voice  is  womanly,  and  vibrant  with  tearful  emotion  and 
dread.  Without  gestures,  and  relying  solely  upon  tone-coloring  for  its 
beauty,  picture  the  ball-room  scene  at  the  winter  palace  of  St.  Peters- 
burg. During  the  last  four  lines  of  the  sixth  stanza,  a  darker,  stronger 
tone  is  employed;  gestures  of  attention  are  used,  and  one  of  location, 
sweeping  vaguely  in  the  distance  to  designate  Siberia. 

(7,  8,  9)  With  hands  clinched  at  the  sides  in  seeming  agony,  Ilva's 
first  line  is  delivered;  then  the  right  hand  unclinches  and  comes  for- 
ward on  the  words  "trace  the  man  whose  jealous  fury  threw  that 
log,"  and  letting  the  hand  wave  slightly  on  the  words  "his  door," 
and  fall  heavily  and  despairingly  on  the  word  "treason."  In  the  last 
two  lines  of  the  eighth  stanza  begins  anew  the  dashing,  impetuous 
whirl  of  the  race,  with  its  strongly-drawn  tension  of  voice,  manner  and 
excitement  in  description.  In  rendering  the  imaginary  voice  chiming 
through  the  iniisic  and  existing  only  in  the  overwrought  brain  of  the 
fair  contestant,  use  a  rhythmic,  effusive,  chanting  tone,  prolonging  the 
vowels  and  Bwaying  subtly  al  waist  in  sympathy  with  the  skaters.  In- 
toned to  soft  music,  this  might  l>e  made  very  effective. 

(10)  The  prolonged,  sustained  voice  and  demand  for  attention  to  the 

wishes  of  the  czar,  must  be  strong  and  full.  Ilva's  speech  burns  with 
the  passionate  pleading  of  despair,  while,  as  the  sentiment  demands  it, 

the  hands  alternately  clasp  and  unclasp. 

(11)  Here  the  sombre  tone-coloring  changes  to  express  warmth  and 
sunshine.  The  voice  of  the  czar  is  deep,  sofl  and  pleasant.  A  gesture 
of  location  for  the  Greek  chapel  may  be  made,  merged  into  a  spiral, 
floating,  ascending  gesture  to  express  the  curling  smoke  of  the  incense 

The  remainder  of  the  stanza  consists  of  Simple  description. 


IOO  EMMA    DUNNING  BANKS'S 

THE  ELF-CHILD, 
i. 

LITTLE  orphant  Annie's  come  to  our  house  to  stay, 
An*  wash  the  cups  an'  saucers  up,  an'  brush  the  crumbs  away, 
An'  shoo  The  chickens  off  the  porch,  an'  dust  the  hearth  an1  sweep, 
An'  make  the  tire,  an'  hake  the  bread,  an'  earn  her  hoard  an'  keep; 
An'  all  us  other  children,  when  the  supper  things  is  done, 
We  sets  around  the  kitchen  tire  an'  has  the  mostest  fun 
A-list'nin'  to  the  witch  tales  'at  Annie  tells  about, 
An'  the  gobble-uns  'at  gits  you 
Ef  you 
Don't 

Watch 
Out! 

II. 
Onet  they  was  a  little  boy  wouldn't  say  his  pray'rs — 
An'  when  he  went  to  bed  at  night,  away  up-stairs, 
His  mamma  beerd  him  holler,  an'  Ins  daddy  beerd  him  bawl, 
An'  when  they  turn't  the  kivvers  down  he  wasn't  thereat  all! 
An'  they  seeked  him  in  the  rafter-room,  an'  cubby-hole  an'  press, 
An'  seeked  him  up  the  chimbly-(lue,  an'  everywheres,  I  guess, 
But  all  they  ever  found  was  thist  his  pants  an'  roundabout! 
An'  the  gobble-uns  '11  git  you 
Ef  you 
Don't 

Watch 
Out! 

III. 
An'  one  time  a  little  girl  'ud  alius  laugh  an'  grin, 
An'  make  fun  of  ever'  one  an'  all  her  hlood-an-kin, 
An'  onct,  when  they  was    company ."  an1  <>le  folks  was  there, 

Sin-  mocked  'em  an'  shocked  'em  an'  said  she  didn't  care! 
An'  thisl  afi  she  kicked  her  heels,  an'  turn'1   to  run  an'  hide, 

They  was  two  great,  big,  Black  Things  a-standin'  by  her  side, 

An*  they  snatched  her  through  the  ceilin' 'fore  she  knowed  what  she's 

about! 
An'  the  gobble-uns  "II  trit  you 
lit  you 
Don't 
Watch 
Out! 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       ioi 

IV. 

An'  little  orphant  Annie  says  when  the  blaze  is  blue, 
An'  the  lamp  wick  sputters,  an"  the  wind  goes  woo-ool 
An"  you  hear  the  crickets  quit,  an"  the  moon  is  gray, 
An'  the  Iightniu1  bugs  in  dew  is  all  squenehed  away — 
You  better  mind  yer  parents,  an'  yer  teachers  fond  an'  dear, 
An'  cherish  them  'at  loves  you,  an'  dry  the  orphant's  tear, 
An'  he'p  the  po"  an'  needy  ones  'at  clusters  all  about, 
Er  the  gobble-uns  "11  git  you 
Ef  you 
Don't 

Watch 
Out! 

—James  Whitcomb  Riley. 


LESSON-TALK. 

"The  Elf-Child,"  or,  "Orphan  Annie's  Goblins,"  as  it  is  frequently 
called,  has  achieved  almost  phenomenal  success  with  elocutionists,  and 
opinions  vary  widely  as  to  the  manner  of  reciting  it.  Some  give  it  with 
the  Hoosier  dialect  strongly  marked,  others  make  the  child  anywhere 
from  10  to  14  years  of  age,  other  still  younger.  Very  gratifying  success 
has  been  attained  by  making  the  impersonation  that  of  a  very  young 
child,  not  more  than  5  or  6  years  of  age;  and,  assuming  this  will  be  the 
rendition  preferred,  we  begin  the  Lesson-talk. 

(1)  Have  a  chair  upon  the  stage  before  you  enter.  Advance,  stand 
by  the  chair,  resting  the  hand  easily  upon  it.  while  you  announce  that 
the  Btory  is  in  the  child  dialect  illustrating  how  credulous  children  are, 
and  how  easily  Frightened  by  ghost  stories.  Then  sit,  crossing  the  legs, 
and  clasping  the  hands  over  the  knees.     Use  a  high,  silvery,  childish 

treble.  A-  you  proceed,  sway  and  rock  the  body  up  and  down,  and 
from  side  to  side.  The  eyes  rove  willi  childish  curiosity  and  freedom 
about  the  room,  and  the  high  voice  has  a  peculiar  childish,  lingering 
drawl.      Sometimes   long  pauses  ensue,  as  the  child's  eyes  are  arrested 

i>>  something  and  she  holds  on  to  a  word  and  almost  forgets  the  story ; 
then  recovering  herself  with  a  jerk  she  goes  on  with  the  speech.  The 
conjunction  "an'."  which  is  very  liberally  introduced,  will  afford  ex- 
cellent opportunity  for  this  business.  Deliver  line  l  rocking  back  and 
forth,  with  a  somewhat  braggadocio  drawl,  equivalent  to  saying:  "I've 
go1  something  thai  you  have  Dot."  Sing  out  the  nerl  line,  swaying 
from  side  to  side  al  the  close.  In  line  8  bring  the  left  shoulder  forward. 
Incline  the  head  and  softlj  rub  the  cheek  against  it.  while  lingering  on 

the   word   "an"    long  enough    to  could    ten;    then   suddenly    push   the 


102  EMMA  DUNNING  BANKS'S 

head  forward  ami  out,  as  though  memory  had  resumed  her  sway,  and 
finish  the  line  briskly  and  with  renewed  interest.  After  the  words 
-  bake  the  bread,"  let  a  puzzled  look  Hit  over  the  lace;  try  to  think  of 
BOmething  else  for  Annie"  to  do,  and  then  nod  the  head  vigorously  as 
though  saying,  "yon  understand,"  and  finish  the  line.  Preliminary  to 
line  5  move  about,  .settle  the  skirts  and  evince  considerable  interest. 
Spread  the  hands  on  either  side  as  you  say  "  we  sets  around  the  kitchen 
tire."  After  the  word  "an,"  introduce,  prolong  and  fairly  scream  out, 
"O-O-Ol  Oh!"  then  finish  line  with  the  head  bobbing  in  excited  little 
nods  and  eyes  fairly  dancing  with  life  and  fun.  Let  a  spirit  of  caution 
possess  you  before  commencing  line  7,  and  pause  and  peer  alternately 
over  each  shoulder  as  though  in  fear,  before  saying  "witch  tales." 
shake  the  finger  wamingly  on  the  word  "gits."  Deliver  "ef— you— 
don't  -watch— out  "  with  the  utmost  solemnity  and  earnestness. 

(2)  Make  line  1  very  impressive,  but  be  careful  not  to  lose  the  child- 
like quality  of  the  voice.  In  the  words  "away  up-stairs,"  make  an  as- 
cending right-hand  gesture.  Emphasize  strongly  the  words  "heerd," 
"holler"  and  "bawl,"  as  they  constitute  proofs  of  the  boy's  presence. 
Make  a  gesture  illustrative  of  turning  "  the  kiwers  down."  Make  a  long 
pause  after  the  word  "  there,"  and  fill  it  in  by  numerous  negative  shakes 
of  the  head;  then  say  in  a  hushed,  awestruck  tone  "at  all,"  and  so 
finish  line  4.  Count  off  the  places  searched  forthe  boy,  by  tapping  the 
fingers  of  the  left  hand  with  the  forefinger  of  the  right.  Begin  your 
enumeration  with  the  little  finger.  Line  5  will  take  three  fingers,  leav- 
ing the  forefinger<  f  the  left  hand  ready  for  the  next  count,  Let  the 
word  "an',"  beginning  line6,  hum  with  the  phonetic  sound  of  n,  as  you 
linger  upon  it,  looking  dubiously  meanwhile  at  the  forefinger  with  a 
comical  expression  of  bewilderment,  as  much  as  to  say  to  the  finger: 
What's  your  name?  What  place  do  you  stand  for?  Glance  alternately 
from  audience  to  finger,  then  tap  it  delightedly  and  repeatedly,  as, 
with  a  Hash,  the  place  comes  to  you  and  you  say:  "  They  seeked  him 
up  the  dumbly  flue."  At  this  point  stop  and  introduce  t  he  following 
business:  Beginning  with  little  finger  of  left  hand,  tap  it  with  fore- 
finger of  right  and  in  a  loud  whisper  say  "one:"  proceed  to  next  finger 
and  whisper  'two"  next "  three ; "  and,  lastly,  the  forefinger  and 
whisper  " four."  Do  this  somewhat  laboriously,  then  look  completely 
nonplussed,  as  if  you  knew  there  were  more  places,  but  could  not  think 
of  them:  then  throw  off  all  worry,  and  with  a  sigh  of  satisfaction  em- 
brace them  all  in  the  words  "  everywheres,  [guess."  The  laughter  of 
your  audience  will  probably  force  you  to  pause  afterthe  word  "  pants." 
Added  force  and  earnestness  are  given  the  warning,  " ef— you— don't — 
watch     out    "  as  the  child  regards  With  wonder  her  mirthful  audience. 

(3)  Disgust    at    the   conduct   of   the  naughty   little   girl    is  evinced 


ORIGINAL   RECITATIONS  AND  LESSON-TALKS.       103 

throughout  this  stanza.  Pauses  after  "mocked  'em,"  also  after 
"  shocked  'em,"  are  filled  in  by  vehement  little  affirmative  nods.  Shake 
the  head  negatively  as  you  say.  "said  she  didn't  care."  Begin  line  6 
with  a  little  groan,  and  shrink  in  terror  at  the  picture  conjured  up. 
Make  a  trembling  upward  gesture  with  both  hands  on  the  words 
"through  the  ceilin',"  and  deliver  the  warning  with  great  force. 

(4)  A  fluttering  of  the  hands  will  illustrate  the  word  "sputters." 
Then  cross  the  arms,  hug  yourself  as  though  cold  with  terror,  letting 
the  right  hand  creep  tremblingly  up  to  the  shoulder  of  left  arm,  begin- 
ning at  the  elbow,  and  do  the  same  with  left  hand  and  right  arm,  as  in 
a  childish  wail  you  say,  '"  woo-o — woo-o."  imitating  the  wind.  Do  not 
mistake  this  place  as  one  suitable  for  an  attempt  at  display,  and  give 
an  elaborate  imitation  of  the  whistling  and  howling  of  the  storm-tossed 
winds.  Those  things  are  beautiful  when  well  done,  and  it  is  a  tempta- 
tion to  do  them;  but  it  would  be  in  bad  taste  in  this  childish  character- 
ization and  decidedly  inartistic.  The  childish  voice  can  be  made  to  give 
the  effect  of  a  baby  wind  whistling  through  the  chimney  in  such  a 
manner  and  with  such  force  as  a  child  would  be  apt  to  employ. 
During  lines  3  and  4  show  a  nervous,  fluttering  excitement  by  facial  ex- 
pression and  movements.  During  the  next  three  lines,  fold  the  hands 
in  demure,  good-girl  fashion.  bringing  out  the  rules  as  though 
thoroughly  convinced  of  the  necessity  of  conforming  to  them.  The  last 
warning  is  delivered  with  an  amusing  mixture  of  solicitude  and  earnest 
vehemence. 


THE  LESSON  OF  OBEDIENCE. 

ff/^OME  hither,  you  madcap  darling!"  1  said  to  my  four-year-old, 
V^     "  I  say.  what  shall   be  done  to  the  naughty  girl  who  will  not  do 

lis  she's  told  '.' " 

So  I  told  her  how  ( lasabianca  <>n  the  burning  ship  stood  brave, 
( >t'  t  h<-  boy  who  would  not  disobey,  even  ids  life  to  save. 

Then  her  eye-,  grew  bright  as  the  morning,  and  they  seemed  to  look  me 

through ; 

All.  ha!  thought  I.  you  understand  the  lesson  I  have  in  view. 

'Now.   what    do   you    think    of  this    lad,  my  love''     Tell    me  all  t  hat 's  in 
your  heart." 

"  I  fink,"  she  said,  " he  was  drefful  good,  but   he  wasn't  the  least    hit 
smart. " 


104  I'M  MA    DUNNING   BANKS'S 

THE   PRIDE  OF  BATTERY  B. 

i. 

SOUTH    MOUNTAIN  towered  upon  our  right,  fax  off  the  river  lay, 
And  over  on  thr  wooded  height  we  held  their  lines  at  bay. 

At  last  the  muttering  guns  were  still  ;   the  day  died  slow  and  wan  ; 

At  last  the  gunners1  pipes  did  fill,  the  sergeant's  yarns  began. 

II. 
When,  as  the  wind  a  moment  blew  aside  the  fragrant  flood 
Our  brierwoods  raised,  within  our  view  a  little  maiden  stood. 

A  tiny  tot  of  six  or  seven,  from  fireside  fresh  she  seemed. 

tOf  such  a  little  one  in  heaven  one  soldier  often  dreamed.) 

III. 

And  as  we  stared,  her  little  hand  went  to  her  curly  head 

In  grave  salute.    "And  who  are  youf"  at  length  the  sergeant  said. 
"And  where's  your  home?"  he  growled  again.  She  lisped  out,  "Who  is  me? 
Why.  don't  you  know?     I'm  little  June,  the  Pride  of  Battery  B. 

IV. 
"  My  home?    Why,  that  was  burned  away,  and  pa  and  ma  are  dead; 
And  so  I  ride  the  guns  all  day,  along  with  Sergeant  Ned. 
And  Pve  a  drum  that's  not  a  toy,  a  cap  with  feathers,  too; 
Anil  I  march  beside  the  drummer-boy  on  Sundays  at  review. 

V. 
"  lint  now  our  'hacca's  all  give  out,  the  men  can't  have  their  smoke, 
And  so  they're  cross —  why,  even  S(^\  won't  play  with  me  and  joke. 
And  the  big  colonel  said  to-day — I  hate  to  hear  him  swear — 

II.  d  give  a  leg  for  a  good  pipe  like  the  Yank  had  over  t here. 

VI. 

"And  so  I  thought  when  heat  t  he  drum,  and  t  lie  big  guns  were  still, 
I'd  creep  beneath  the  tent  ami  come  oul   here  across  the  hill 

And  beg,  good  Mister  Yankee  men.  you'd  give  me  some '  Lone  Jack.' 
Please  do;  when  we  get  some  again,  I'll  surely  bring  it  hack. 

VII. 

[ndeed,  I  will,  for  Ned — says  he — if  I  do  what   I  say, 
I'll  he  a  general  yet,  maybe,  and  ride  a  prancing  hay." 
We  brimmed  her  tiny  apron  o'er;  you  should  have  heard  her  laugh 
Afi  each  man  from  hi-  scanty  store  shook  out  a  generous  hall. 

VIII. 
To  kiss  the  little  mouth  stooped  down  a  score  of  grimy  men. 

I'nt il  th.-  sergeant's  husky  voice  said,  "  'T<  ntion,  squad!"  and  then 


ORIGINAL   RECITATIONS  AND   IESSOX-TALKS. 

We  gave  her  escort,  till  good-night,  the  pretty  waif  Ave  bid, 
And  watched  her  toddle  out  of  sight — or  else  'twas  tears  that  hid 

IX. 
Her  tiny  form— nor  turned  about  a  man,  nor  spoke  a  word, 
Till  after  awhile  a  far,  hoarse  shout  upon  the  wind  we  heard  I 
We  sent  it  hack,  then  cast  sad  eyes  upon  the  scene  around; 
A  baby's  hand  had  touched  the  tics  That  brothers  once  had  bound. 

X. 
That's  all — save  when  the  dawn  awoke  again  the  wrork  of  hell, 
And  through  the  sullen  clouds  of  smoke  the  screaming  missiles  fell, 
Our  general  often  rubbed  his  glass,  and  marvelled  much  to  see 
Not  a  single  shell  that  whole  day  fell  in  the  camp  of  Battery  B. 

— F.    H.    GrASSAWAr. 


105 


LESSON-TALK. 

(1)  Begin  the  words  "  South  Mountain  towered  upon  our  right,"  with 
.111  oblique,  right  hand  gesture,  horizontal  from  the  shoulder,  swaying 
Tin'  body  subtly  forward  until  the  weight  predominates  on  the  advanced 
right  foot.  Continue  the  line  of  this  gesture  slightly  to  the  left  as  you 
point  out  where  "  the  river  lay."  Following  the  same  line  to  the  left, 
designate  "  the  wooded  height."  Strengthen  involuntarily  both  hands 
at  the  side  and  say  with  pride  and  vim,  "weheld  their  lines  at  bay." 
Make  The  word  "muttering,"  also  The  word  "slow,"  picturesque,  deliv- 
ering tin  last  half  of  the  line  in  an  effusive,  lingering  tone,  in  strong 
eontrasl  to  line  1.  which  is  brisk  in  utterance,  and  somewhat  jolly  in 
tone. 

(2)  The  right-hand  gesture  in  this  stanza  is  continuous  throughout 
the  I'n -t  three  lines.  A  little  con  versa  t  ioiial  movement  of  the  hat  id  near 
the  centre  of  the  waist  line  will  suffice  to  engage  attention  on  the  first 
Three  words.  Then,  allowing  the  hand  to  turn,  make  a  movement  to 
the  right  descriptive  of  something  being  brushed  or  waved  aside.  Let 
t  hi-  movement  merge  into  a  spiral,  float  ing,  ascending  gesture,  illust  ra- 
tivp  of  wreaths  of  smoke.  Continue  this  till  thehand  reaches  a  point 
higher  than  the  head,  letting  it  drop  from  the  wrist,  and  floating  it 
upward  again  on  the  word  "  raised."  Then  utilize  the  posit  ion  attained 
by  looking  down  as  though  .-it  something  beneath,  as  you  say  "  within 

OUr  view  a  little  maiden  stood.''     The  hand  and  arm  descend  to  illust  rate 

the  size  and  probable  age  of  the  little  one.  Deliver  line  4  with  a  touch 
Of  solemnity  and  pathos,  making  a  full  pause  .liter  the  word  "one," 
raising  the  face  reverently  and  filling  in  the  pause  with  an  ascending 
riu'ht  hand  gesture,  before  saying  the  words  "in  heaven." 

(3)  A  military  gesture  Is  suggested  at  the  beginning  of  this  stanza. 


IC»6  EMMA    DUNNING  BANKS'S 

Assume  and  employ  your  Bternest  facial  expression  and  heaviest,  gruff » 

est  grow]  on  the  words  "  who  arc  you,"  and  "  where's  your  home.1'  In 
almost  Btartling  contrast  pipes  out  the  high,  thin,  sweet,  childish,  sil- 
very voice  of  "little  Jane."  The  mistake  commonly  made  in  childish 
characterizations  is  that  the  voice  and  manner  employed  are  not  far 
enough  removed  from  the  one  used  in  ordinary  conversation.  It  must 
l>e  high,  thin,  sweet  and  silvery ;  and,  in  order  not  to  seem  affected,  one 
must  Throw  himself,  for  the  time  being,  into  such  a  mood  that  he  can 
"think  as  a  child  and  act  as  a  child."  A  little  courtesy  will  introduce 
thi'  child  and  close  the  third  stanza. 

I  1 1  A  lingering,  wondering  element  and  a  shade  of  sadness  enter  now 
into  the  child's  voice,  becoming  more  cheerful  and  brightening  in  line 
2.  and  teeming  with  exultant  hoastfulness  in  lines  :!  and  4.  A  spirited, 
(puck,  little  fling  of  the  hand  from  the  wrist  toward  the  head,  then 
outward  and  upward,  will  serve  to  give  the  idea  of  "  a  cap  with  feathers 
too;"  and  a  little  involuntary  and  alternate  push  of  the  feet,  if  not 
done  obtrusively,  will  suggest  the  childish  pleasure  in  the  "  march  on 
Sundays  at  review." 

(5)  Lean  forward,  with  the  voice  lowered  to  a  sort  of  confidential 
hush,  and  speak  as  though  telling  of  some  dire  calamity  as  you  utter 
line  1.  Pout  a  little,  looking  downward  and  then  upward  through  the 
next  line.  After  "  to-day"  give  utterance  to  a  litle  grunting,  prolonged 
"oh,"  shrill  the  shoulders,  and  shrink  together  in  childish  disgust,  and 
say  with  distasteful  intensity  "  I  Jmti-  to  hear  him  swear."  Then  give  a 
juvenile  imitation  of  the  colonel's  reckless  mode  of  expression. 

(6)  Let  the  confidence  become  more  joyous,  patting  hands  together 
in  happy  excitement  at  thought  of  the  plan  to  relieve  the  soldiers. 
.Make  a  little  prone,  descending  movement  with  both  hands  on  the 
words  "  I'd  creei>  heneath  the  tent."  In  line  3  clasp  the  hands  with  im- 
ploring tightness  on  the  word  "  beg,"  using  a  coaxing  tone.  Make  the 
coaxing  element  especially  prominent  as  you  unclasp  the  hands  and 
stretching  them  forward  say  "  please  do."  Then  give  the  words  follow- 
ing with  assuring  conviction. 

(7)  To  indicate  the  greatness  the  rank  of  general  meant  to  the  child, 
make  an  ascending,  right-hand  gesture  higher  than  the  head.  Let  the 
hand  descend  and  combine  with  the  left  in  a  driving  movement  on  the 
words  "ride  a  prancing  bay."  As  though  dropping  a  mask,  resume 
your  own  voice  and  character  again,  when  commencing  line:;,  shake 
the  finger  impressively  when  uttering  the  words  "you  should  have 
heard  her  laugh."  Make  emphatic  the  words  " scanty  "  and  also  "gen- 
erous." 

-     Emphasize  the  word  "  husky  ;  "   then  once  more  assume  t  he  heavy, 

gruff  tone-  of  the  commanding  officer.    Leaning  obliquely  to  the  right, 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.        107 

shade  the  eyes  with  the  hand  on  the  word  "  watched,"  letting  the  ges- 
ture wander  slowly  forward  in  the  distance,  making  frequent  pauses  as 
you  say"  toddle— out — of— sight."  A  tremor  of  the  voice  colors  the  re- 
mainder of  the  sentence.     This  tremor  creeps  into  the  next  stanza. 

(9)  Turning  the  head  to  the  left,  listen  with  the  right  ear  for  the 
"far,  hoarse  shout,"  holding  the  right  hand  slightly  out  and  back  to 
insure  silence.  On  the  words  "  we  sent  it  back,"  turn  the  head  quickly 
to  the  right;  and,  bringing  simultaneously  the  right  hand  almost  but 
not  quite  to  the  mouth,  make  a  swift  outward  gesture,  then  let  the 
hand  wave  to  and  fro,  on  the  words  "  then  cast  sad  eyes  upon  the  scene 
around." 

(10)  Following  the  word  "often,"  comes  a  full  pause;  fill  it  in  with 
this  action- work:  Take  from  the  eye  an  imaginary  field-glass  and  rub 
it.  then  say  "rubbed  his  glass."  Utter  the  conjunction  "and,"  pause, 
and  in  the  pause  raise  the  glass  again  to  the  eye  and  look  around;  then 
finish  the  line.  The  gesture  of  attention  commencing  the  last  line, 
merges  into  a  slightly  ascending  movement  when  pointing  out  the 
"  camp ; "  and  with  a  slight  bow  as  the  hand  falls  to  the  side  the  action- 
work  of  "  The  Pride  of  Battery  B  "  is  completed. 


TWO  THANKSGIVING   DANCES. 
1. 

SEATED  by  the  glowing  embers,  in  the  pleasant  firelit  hall, 
Thoughts  of  bygone  hours  come  o'er  me,  trooping  at  my  memory's 
call. 
Dreamily  I  watch  the  fire-flames  leap  and  die,  retreat,  advance; 
In  the  parlor,  some  one  playing,  thrums  a  gay,  old-fashioned  dance. 
Ah,  that  music!     How  it  thrills  me!     Sweeter  far  than  classic  theme! 
Back  from  out  my  past  come  floating  ghosts  of  love's  remembered  dream. 
Hair  of  sunshine,  eves  of  azure,  dimpled  shoulders  warm  and  white, 
Tis  my  lovely,  laughing  sweetheart,  as  she  danced  Thanksgiving  night. 

II. 
Queeniel  Queeniel  throbs  the  music;  Queeniel  cries  my  aching  heart; 

Could  I  win  you  back,  my  dear  one,  never  from  you  would  I  part. 
Just  ten  years  ago  Thanksgiving  since  our  quarrel  had  its  place; 
Just  ten  years  ago  Thanksgiving  since  [  looked  upon  your  face. 
Such  a  .-illy,  childish  quarrel,  'mid  the  mazes  of  the  dance; 
And  I  noted  how  her  anger  seemed  her  beauty  to  enhance. 

Hark  !   the  music  wilder  crashes,  some  one  joins  with  violin. 
All  Comes  back  before  my  vision,  now  the  dancing  will  begin. 


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EMMA    DUNNING   BANKS'S 


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ORIGINAL    RECITATIONS  AND   LESSON-TALKS.        109 

III. 

Oh,  the  old-fashioned  farm-house,  with  white  oaken  floor, 

And  the  boys  with  their  sweethearts  whom  they  all  adore; 

And  the  jolly  old  fiddler,  who  plays  half  asleep. 

Ami  then  wakes  him  to  sing  out  his  calls  loud  and  deep. 

Now  he's  shouting,  "First  threi  couples  forward  and  back!'1'' 

As  they  bend,  bow,  advance,  and  retreat  on  their  track, 

I  call  Queenie  "  a  flirt."    She  just  flashes  her  eyes, 

Whirls  around  with  Ned  Brown  and  says,  "  Don't  feel  surprise 

[Play  second  strain  twice.] 


IV. 

"  If  I  call  you  another — you  kissed  Susie  Bell." 
"  That's  not  true" —     "  Yes.  you  did.  sir,  for  I  heard  her  tell" — 
"All  turn  partners  half  round!"    "  Queenie,  list  to  me,  do." 
"No,  1  won't;  here's  your  ring;  you  can  marry  Miss  Sue." 
"Forward,  back  with  threi  couples,  swing  partners  to  place!" 
Shall  I  ever  forget  her  sweet,  crimson-flushed  face 
As  while  dancing  1  said:  "  Since  you  will  not  have  me 
Perhaps  >>"ed  Brown  will  take  you,  if  you  can  agree." 

V. 
Ah!  the  music  from  the  parlor  crashes,  ceases,  as  the  fire 
Sends  from  out  its  dying  ashes  one  wild  flame  of  mad  desire. 
Golden,  crimson,  high  ir  Hashes,  weirdly  lights  the  corners' gloom, 
Typic  of  a  flame  within  me.  lighting  up  my  heart's  dull  tomb; 
Lighting  up  my  memory's  chamber,  showing  scenes  of  Long  ago. 
Calls  the  player  from  the  parlor,  "  Uncle  Franklin,  did  you  know 
Winn  Thanksgiving  comes  we're  going  out  to  grandma's  for  the  day, 
And  we'll  meet  Miss  Queenie  Graham,  who  lias  been  so  long  away?" 

VI. 

Grandma's  table  groaned  with  plenty.    Goose  and  turkey,  you  can  trust 
(i  0I1 1  en  circlets  formed  of  pumpkin,  rimmed  aboul  with  flaky  crust; 
Roasts  .Mid  sparerib,  puddings,  sauces,  toothsome  crullers  lit  for  queen. 
But,  far  better  than  the  dinner,  was  a  glimpse  thai  I  had  seen 
Of  a  Blender,  stately  maiden,  one  whose  eyes  drooped  'neath  mine  own 
Win m  I  courage  found  to  question  if  her  love  for  me  had  Mown. 
Games  and  nuts  and  cider  feasting  came  with  evening's  glowing  light; 
Some  one  cried,  '  I'll  play  and  call  off,  le1  us  have  a  dance  to  night!" 


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ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       \\\ 

VII. 

Oh,  right  quickly  they  all  took  their  place  on  the  floor, 
When  'twas  found  that  they  wanted  just  one  couple  more. 
Then  I  offered  iny  arm,  smiled  her  blushes  to  see 
As  I  said:  "Come,  dance  '  Haste  to  the  Wedding'  with  me." 
Now  it's  "first  couple  had  out!"  so  stately  her  grace 
That  I  almost  had  feared  her.     "  Buying  partners  to  place!'''' 
Were  it  not  for  her  countenance,  rose-flushed  and  sweet, 
No"W  it's  "Bal-an-ce,  swing!"  and  swift  twinkle  her  feet. 

VIII. 

[Play  second  strain  twice.] 
Then  I  caught  her  and  held  her  in  one  blissful  whirl, 
And  I  found  time  to  whisper,  "  My  own  little  girl, 
Will  you" —    "First  lady  bal-au-cc  with  secondment! 
Turn  with  partners ! '"    Once  more  to  my  words  I  gave  vent: 
"  Do  you  love  " —    "Ladies'  chain  ! "    "  Can  you  love  as  of  yore? 
Will  you  keep  that  old  promise?    Say  yes,  I  implore." 
Then  we  finished  our  dance,  as  she  courtseyed  and  said: 
"  Let  us  '  haste  to  the  wedding,1  and — haste  to  be  wed !  " 


LESSON-TALK. 

(1;  The  mood  is  retrospective.  The  voice  employed  should,  there- 
fore, be  effusive  ill  order  to  prove  sympathetic.  Little  conversational 
gestures  of  the  right  hand  from  the  wrist  will  serve  to  illustrate  the 
flames,  as  they  "  Leap  ami  die,  retreat,  advance."  As  though  the  parlor 
was  at  the  rear,  le1  the  gestures  merge  into  a  backward  movement, 
holding  and  poising  the  head  in  listening  attitude,  as  you  say  line  4. 
Bring  the  hands  together  with  impassioned  swiftness  on  the  word  "Ah," 

letting  a  heart  thrill  of  earnestness  heat  through  the  words  that  follow. 

'  Back  from  out  my  past  comes  floating,"  suggests  a  beautiful  backward 

free-arm  gesture,  and  then  a  floating  movement  forward.  A  dream) 
tone  movement  colors  line  ', .  and  the  hands  clasp  OD  the  words,  "  Tis 
my  lovely,  laughing  sweetheart." 

!     The    hand    is    held    backward    and    prone,    as   though    enjoining 

silence,  ami  Listening  to  the  music  from  the  parlor;  while  the  voice,  in 
a  minor  key,  t hrohs,  prolongs  and  trembles  out  "Queeniel  Queenie!" 
Facial  expression,  together  with  emphasis  prompted  by  tme  feeling, 

will  render  what    follows  effective.      In    line   7.  with    the    word   "  Hark" 

let  the  hand  go  swiftly  back  as  you  listen  to  the  music;  then  combine 
thii  gesture  with  the  one  following  in  line  8,  by  passing  the  ha  ml  before 

the  eyes  and  then  I  or  wan  I  and  out,  as  though  locating  the  vision  of  the 


I  1 2  EMM.  I    D  UNNING  BANKS'S 

dance  in  the  airy  distance,     assume  a  lively  poise,  right  foot  jorward 
ready  to  beat  time,  as  you  say,  "  .Now  the  dancing  will  begin." 

(8)  Preliminary  to  entering  upon  the  action-work  for  the  stanzas  to 

lie  intoned  to  music,  a  few  suggestions  as  regards  intonation  may  prove 
acceptable.  First,  last  and  always,  do  not  sing  it  ;  keep  the  voice  down. 
If  you  play,  sit  at  the  piano,  and  very  slowlj  intone  each  word  to  the 
music.  Hither  in  the  treble  or  the  bass,  you  will  find  a  note  for  eveiy 
syllable  in  the  stanzas.  In  the  eighth  stanza,  with  the  air  of  "Come, 
Haste  to  the  Wedding,"  line  '■'>  is  intoned  almost  entirely  to  the  eighth 
notes  composing  the  bass,  as  is  also  line  7  in  the  same  stanza.  As  you 
grow  familiar  with  the  work,  increase  your  speed,  never  forgetting  to 
give  the  tiddler's  calls  loud  and  deep  If  you  do  not  play,  get  some  one 
to  play  for  you.  Accent  strongly  with  voice  and  piano  the  lirst  and 
fourth  counts  of  each  measure ;  then  remember  time  and  accent  when 
you  are  practicing  alone.  It  is  well  to  practice  some  without  music,  as 
you  can  better  watch  the  voice,  keeping  it  down  and  checking  inclina- 
tion to  sing. 

During  lines  1  and  2  beat  time  with  the  feet,  while  swaying  sympa- 
thetically with  every  curve  and  line  of  the  torso,  and  pointing  out  the 
details  of  the  picture  with  right  hand  and  arm  extended.  Continue  this 
action  during  line  3,  but  let  the  head  nod  and  eyes  half  close  to  illus- 
trate the  tiddler  half  asleep.  Ply  an  imaginary  bow  over  an  imaginary 
fiddle  vigorously,  as  you  shout,  "First  three  couples  forward  and 
back!  "  in  as  deep  a  voice  as  possible.  Suit  the  actions  to  the  words  in 
line  6.  Lean  forward  as  you  bring  in  "I  call  Queenie  'a  flirt;'"  and, 
turning  to  the  right,  whirl  completely  around  to  that  point  again,  and 
finish  the  stanza  by  a  low,  mocking  courtesy  as  you  say  tantalizingly, 
"  Don't  feel  surprise." 

(4)  During  line  1,  dance  and  speak  to  the  right,  making  use  of  short 
polka  steps,  and  bending  the  knee  gracefully  as  you  sway  from  side  to 
side.  Use  a  deep  voice  and  speak  to  the  left,  as  you  say  "  that's  not 
true."  Again  adopt  the  girlish  treble,  full  of  a  spirit  of  spicy  contra 
diction.  Line  '■'>.  during  one  half,  consists  of  the  heavy  voice  of  the 
prompter,  and  the  playing  of  the  imaginary  fiddle.  Speak  to  the  left, 
with  hands  outstretched,  as  you  say,  "Queenie,  list  to  me,  do."  The 
trirl  trips  saucily  and  coquettishly  to  the  right,  holding  skirts  daintily 
on  both  sides,  as  she  says,  "  No,  I  won't;"  takes  off  an  imaginary  circlet 
with,  "Here's  your  ring;"  then  turns  and  balances  to  the  left,  looking 
provokingly  over  the  right  shoulder  and  shaking  her  finger  as  she  says, 
"  You  can  marry  Miss  Sue."  Once  more  comes  the  impersonation  of  the 
old  fiddler,  and  the  remainder  is  finished  by  appropriate  dancing-steps. 

(5)  Suitable  gestures  for  the  fire  flames  will  doubtless  suggest  them 
selve.  .      When  you  come  to  line  1  place  the  left  hand  upon  the  heart. 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS. 


"3 


A  backward  gesture  on  the  words  "  showing  scenes  of  long  ago "  will 
conveniently  change  into  a  movement  locating  the  sound  of  the  voice, 
speaking  in  ringing  tones  from  the  parlor,  and  to  which  you  must  seem 
to  listen  during  the  remainder  of  the  stanza. 

(0)  The  words  "golden  circlets"  demand  a  circular,  right-hand  ges- 
ture descriptive  of  the  shape  of  a  pie,  with  a  turning  of  the  hand  in  an 
explanatory  supine  front  gesture  as  you  say,  "  made  of  pumpkin."  De- 
liver the  speech  in  the  last  line  clearly  and  somewhat  loudly. 

(Ti  Once  more  begins  the  merry  music,  and  this  time  the  lilting 
strains  of  "  Come,  Haste  to  the  Wedding,1'  will  serve  to  inspire  you  to 
the  requisite  energy  for  voice  and  action-work.  Leaning  forward, 
point  out  with  animated  enjoyment  the  dancers  as  they  appeared 
when  they  "  took  their  place  on  the  floor."  A  spirit  of  archness  and 
mischief  should  permeate  the  tone  and  light  up  the  face  when  render- 
ing line  2.  The  gesture  of  offering  the  arm  will  suggest  itself  in  line  3. 
There  should  be  invitation  in  the  glance  and  poise  of  the  head  as  well 
as  in  voice  as  you  say  "  Come  dance  '  haste,  to  the  wedding'  with  me." 
Do  not  forget  the  fiddler's  gesture,  nor  the  imitation  of  his  stento- 
rian voice  as  you  give  the  call  in  line  5.  As  you  say  "so  stately  her 
grace,'1  sway  obliquely  to  the  right,  leaning  the  weight  gracefully  upon 
the  forward  ri^ht  foot,  and  let  the  hands  merge  from  the  fiddler's  ges 
ture,  to  aid  in  a  pose  somewhat  descriptive  of  a  minuet  figure.  The 
right  hand  and  arm  should  beheld  high  and  gracefully  curved  at  the 
wrist.  This  dainty  curving  of  the  wrist  should  also  mark  the  manner 
in  which  the  left  hand  lifts  the  dress  at  the  side.  With  the  words 
"  that  I  almost  had  feared  her,"  reverse  this  action-work  by  swaying, 
with  a  long,  light  step,  to  the  left,  raising  left  hand,  and  dropping 
right  hand.  The  advice  given  for  the  position  to  the  right  is  the  same 
for  position  to  the  left  as  regards  hand  and  arm.  Merge  this  work  into 
the  fiddler's  gesture,  as  you  call  "  swing  partners  to  place."  On  the  last 
line  whirl  or  not,  as  you  choose. 

Begin  with  a  double  gesture  descriptive  of  the  sentiment  em- 
bodied in  the  line.  ( >n  the  reciter's  tempera  meid  and  power  of  abandon 
largely  depend  the  earnestness  and  grace  of  the  gesture.  During  the 
long  call  in  lines  8  and  1  you  must  adopt  the  shouting  voice  of  the  fid 
dler;  but  using  the  imaginary  bow  is  not  arbitrary;  dancing-steps 
would  perhaps  be  preferable,  as  the  call  is  so  long.  Illustrate  the  call 
ladies1  chain  "  bj  dancing  forward,  giving  righl  hand  and  then  left  to 
your  imaginary  opposites.  Clasp  hands  pleadingly  on  the  word  "im- 
plore." The  dancing  and  courtesy  spoken  of  in  line  7  will  constitute 
tin'  action  work  of  the  last  line,  ami  at  the  same  time  finish  the  stanza. 
If  preferred  (both  being  in 6  8  time)  only  one  piece  of  music.  Instead  of 

two.  may  be  used  in  the  recitation. 
8 


114  EMMA   DUNNING   BANKS'S 

A   LEGEND  OF  ROSE  SUNDAY. 


II  EN  the  laughing,  merry  June  maid  shakes  her  clouds  of  golden 
hair. 


w 

When  the  lovely  sky  all  azure  echoes  birds'  songs  everywhere, 
When  a  softened  emerald  carpet  springs  up  on  the  dusty  way, 
We  must  lift  our  hearts  in  anthems,  Bing  and  welcome  "  Children's  Day." 
Floats  a  sweet  rose  incense  heavenward  from  all  churches  through  our 

land, 
June  yields  up  her  floral  treasures  with  a  loving,  lavish  hand. 
And  the  little  children  tripping,  each  a  dainty  rosebud  fay, 
Dimpled  hands  all  full  of  pink  blooms  celebrate  the  "  Children's  Day." 

II. 

In  a  town  far  off  to  seaward  dwelt  a  maiden  fair  and  young, 
Sweet  of  smile  and  low  of  stature,  whom  no  idle,  wicked  tongue 
Ever  yet  had  dared  to  censure.     Said  the  children  :  "  She's  so  dear 
That  our 'gude  man'  in  the  pulpit  is  to  wed  with  her  next  year." 
But  ere  yet  the  year  was  over,  this  sweet  maiden  drooped  and  failed; 
From  a  rose  of  bloom  and  fragrance  to  a  dying  lily  paled. 
So  they  sent  her  far  to  inland,  hoping  mountain  air  and  dew 
Would  revive  her  health  and  spirits,  give  her  life  and  love  anew. 

III. 
Prayers  uprose  at  night  and  morning  for  the  health  of  absent  May. 
Prayers  from  saint  and  prayers   from   sinner,  prayers   from  old  and 

you n ^'  and  ^'ay. 
All  the  children's  hearts  were  with  her,  exiled  on  that  mountain's  side, 
And  they  prayed  that  God  would  send  her  hack  to  be  their  pastor's  bride. 
Sometimes  news  came  she  was  better,  then  anon  that  she  was  worse 
Superstitious  people  muttered  something  low  about  a  hearse 
When  tin-  wee  ones  asked  and  wondered  if  their  prayers  for  maiden  May 
Would  be  answered;  would  God  let  her  be  with  them  on  "Children's 

Day." 

IV. 
Bright  Rose  Sunday  dawned,  and  gladsome  from  a  bush  some  tiny  bird 
Piped  his  merry  lay  of  music,  which  the  pastor  sadly  heard. 
Beard  with  heart  full  sore  and  heavy,  as  he  paced  him  to  and  fro, 
Dp  and  down  his  narrow  study,  thinking  one  short  year  ago 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.       115 

May  was  full  of  life  and  beauty,  wondering  would  she  e'er  be  well. 
Then  to  rouse  his  tranced  musing,  came  the  pealing  of  the  bell 
From  the  church  towers,  gray  and  lofty,  and  it  woke  his  suffering  soul 
To  a  sense  of  pastoral  duty,  with  its  softly  chiming  toll. 


As  he  entered  the  church  portals,  from  the  tinted  oriel  flamed 
Forth  a  light  of  wondrous  beauty,  and  he  knelt  him  down  ashamed 
( >t  his  doubtings  and  repinings.     As  he  rose,  upon  his  right 
An  arbor  entrance,  formed  of  roses,  met  his  fascinated  sight. 
As  he  paused  and  gazed,  the  archway  of  the  arbor  parted  wide, 
Back  he  shuddered — then  pressed  forward — there  she  stood,  his  would- 
be  bride. 
Full  of  life  and  health  and  beauty,  not  a  rose  in  all  that  bower 
Could  compare  with  her  for  blushing,  in  that  happy,  blissful  hour. 

VI. 
Shall  I  tell  you,  how  the  children  planned  for  him  this  great  surprise? 
Planned  it  without  aid  from  others,  other  older  heads  and  wise? 
No—  I'll  leave  you  to  imagine,  only  tell  you  "  Children's  Day," 
Bright  Rose  Sunday  saw  the  pastor  wedded  to  the  fair  maid  May. 
Long  as  tongues  of  little  children  can  the  pleasant  story  tell, 
Long  as  from  The  old,  gray  towers  peals  the  mellow,  low-timed  bell, 
Long  as  birds  their  merry  songlets  pip*1  from  rose  trees  by  the  way, 
Will  that  far-off  country  sea-town  hold  in  honor  "  Children's  Day." 


LESSON-TALK. 

(1)  Begin  in  a  bright,  happy,  animated  way,  for  it  is  a  description 
of  all  things  cheerful  and  beautiful  and  the  mood  must  be  in  accord- 
ance ()u  line  5  allow  an  ascending  gesture  with  the  right  hand,  then 
bring  the  hands  together  and  separate  them  on  the  words,  "through 
our  land."  This  gesture  should  he  neither  high  nor  low.  Finish  the 
stanza  in  a  pleasant,  natural  manner, 

(2)  Make  ;i  gesture  to  the  righl  when  locating  the  town.  Sympa- 
thetic feeling,  tenderness  and  Badness  of  voice  must  combine  with 
facial  expression  in  rendering  this  stanza  effectively.    On  line  ?.  make 

.1  gesture  with  the  left   hand,  thus  giving  the  idea  of  opposition,  to  the 

two. point-  Inland  and  seaward. 

(8)  A  slightly  ascending  movement  maybe  permitted  on  the  word 
"  uprose,"  occurring  in  line  1  During  line 8  let  the  1 . ■  1 1  band  touch  the 
beari  gentlj  fora  moment,  leaving  it  to  repeat  the  gesture  of  location 
toward  the  inland  mountain  town. 


Il6  EMMA   DUNNING  BANKS'S 

(4)  The  bright  and  lively  tones  beginning  the  stanza  change  sud- 
denly to  a  sympathetic  sadness  as  you  depict  the  mood  of  the  pastor. 
A-  you  say,  "to  and  fro,  up  and  down "  the  voice  inusl  seem  to  sway, 
and  keep  time  to  imaginary  footsteps. 

(5,  (>)  When  designating  the  oriel  window  make  a  gesture  to  the  left. 
Line  8  suggests  a  right-hand  movement.  A  double  gesture,  separating 
the  hands  gracefully  al  a  point  as  low  as  the  waist-line,  will  serve  to 
illustrate  the  opening  of  the  archway  of  roses.  ( )n  line  ii  give  a  quick, 
backward  start,  followed  by  a  forward  movement  equally  sudden,  with 
both  hands  impulsively  outstretched.  Finish  the  selection  easily  and 
very  conversationally,  using  few  gestures  and  depending  upon  natural- 
ness for  effect.  On  lines,  we  find  suggested  once  more  the  right-hand 
gesture  to  seaward,  ending  with  a  gentle  upward  wave  on  the  word 
"  honor;  '*  then  drop  it  easily  to  the  side  and  linish. 


LITTLE  BOY   BLUE. 

a\   TXDER  the  haystack,  little  Boy  Blue "  sleeps  with  his  head  on 

^  his  arm. 

While  voices  of  men  and  voices  of  maids  are  calling  him  over  the  farm. 
Sheep   in   the  meadows  are  running  wild,   where   poisonous  herbage 

grows. 
Leaving  white  tufts  of  downy  fleece,  on  the  thorns  of  the  sweet  wild 
rose. 

Out  in  the    field  where  the  silken  corn  its  plumed  head  nods  and  bows, 
Where  golden  pumpkins  ripen  below,  trample  the  white-faced  cows. 
But  no  loud  blast  on  the  shining  horn  call  hack  the  straying  sheep, 
And  the  cows  may  wander  in  hay  or  corn,   while  their  keeper  is  fast 
asleep. 

Hi-  roguish  eyes  are  tightly  shut,  his  dimples  are  all  at  rest, 

Two  chubby  hand-  tucked  under  his  head,  by  one  rosy  cheek  is  pressed. 
Waken  him?  no.  let  down  the  bar-,  and  gather  the  truant  sheep; 
I » i ••  - 1 1  tin-  barnyard  and  drive  in  the  cows,  but  let  the  little  boy  sleep. 

For  year  after  year  we  can  shear  the  fleece,  and  corn  can  always  be 

-own  ; 

But  the  sleep  that  vi-it-  lilt  le  Boy  nine  will  not  come  when  the  vears  are 
flown. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       117 


A  SQUEEZE  IN  THE  DARK. 
1. 

OH,  swate  Kitty  Galore  was  but  jist  twinty-one, 
When  her  life  as  a  young:  Irish  widely  begun. 
Ere  her  crape  was  tuk  off  she  had  beaus  by  the  score; 
Troth !  a  merry  blue  eye  had  the  Widdy  Galore. 

II. 
Shure  she'd  laugh  an'  she'd  talk,  but  she  put  them  all  off, 
Till  there  jist  remained  two,  that  she  seemed  not  to  scoff. 
Faith !  they  both  got  so  jealous  it  bothered  her  sore, 
But  she  kept  her  eyes  dancin',  did  Kitty  Galore. 

III. 

Then  she  vowed,  this  good  widdy,  she'd  niver  endure 
To  be  kissed  or  be  hugged,  till  a  wife  she  was  shure. 
"  'Twill  not  hurt  to  be  heedful,  they'll  prize  me  the  more." 
Then  she  knowingly  winked,  this  bright  Kitty  Galore. 

IV. 
Well,  now.  Sandy  McGee  was  a  bit  av  a  taze. 
So  he  jumped  out  on  Kate  one  dark  night  with  a  squaze. 
Och!  she  scolded:  "Who  am  Iv"  He  then  did  implore: 
"  Can't  your  bright  eyes  rade  darkness,  swate  Kitty  Galore?" 

V. 
The  next  night  came  down  Larry,  to  proffer  his  suit. 
"Shure  I'M  fix  him," said  Sandy,  "  the  murtherin' brute. 

I  1 1  purtind  I'm  a  ghost,  an'  I'll  hide 'hind  the  door, 
I'll  be  ghost  av  the  husband  av  Kitty  Galore." 

VI. 
Kate  liked  Larry  O'Fkin,  yei  she  vowed  in  her  heart 

II  'twas  he  th.it  bad  hugged  'her.  she'd  sure  with  him  part. 

So  when  Larry  said  "  marry,"  she  Looked  on  the  floor, 
When  a  voice  behind  her  cried.:  "Kitty  Galore  I 

VII. 

"  I'm  the  ghost  av  your  husband,  an1  I  tell  you  righl  here 
Not  to  marry  wid  Larry;  take  Sandy,  my  dear, 
Shure  ye'll  And  him  the  best,  an1  he'll  love  yez  far  more." 

"Oh,  ho,  ho  "  Bnapped  the  brighl  eye   of  Kittj  Galore. 


nS  EMMA  DUNNING  BANKS'S 

VIII. 

"  If  ye're  Ted,  or  Toil's  ghost,  then  come  squaze  me  rale  tight." 

"Share,  I  will  thin,"  says  Sandy,  "  hut  puff  out  the  light.1' 
Out  it  went  ;  and  he  joyfully  hugged  her  once  more; 
Then  Kate  laughed  :  "  Faith,  that  niver  was  Teddy  Galore. 

IX. 

"  That  same  squaze,  I  remimber  quite  well  from  last  night;" 
As  she  spoke  she  had  lit,  and  then  turned  up  the  light. 

"Och,  now.  Bandy  Met  ice,  jist  make  tracks  for  the  door; 
1  can  faZe  through  the  darkness,1'  laughed  Kitty  Galore. 


LESSON-TALK. 

The  typical  Irish  character  is,  as  a  rule,  best  described  by  the  adjec- 
tive "jolly."  His  humor  is  rollicking,  merry  and  infectious.  Fill  your- 
self, therefore,  with  animation;  let  the  eyes  sparkle,  the  whole  face 
light  up,  the  form  be  active.  Foreigners,  we  know,  are  prone  to  much 
in  the  way  of  movement;  therefore,  you  may  gesticulate  freely  when- 
ever an  impulse,  guided  by  discretion,  assures  you  that  it  will  aid  your 
description.  Do  not  be  over-strenuous  about  graceful  movements;  if 
somewhat  ludicrous  and  uncouth,  they  will  prove  all  the  more  fitting 
for  the  delivery  of  an  Irish  story,  in  the  Irish  dialect. 

(1)  On  line  3  make  a  descending  front  gesture,  right  hand  prone,  be- 
ginning from  the  line  of  the  shoulder,  as  though  designating  the 
mourning  habiliments  of  the  widow.  Combine  this  movement  quickly 
witli  the  left  hand  in  a  double  but  not  entirely  parallel  gesture,  making 
both  hands  supine  on  the  phrase,  "beans  by  the  score."  Never  make 
these  seemingly  parallel  movements  entirely  so;  allow  one  hand  always 
to  be  somewhat  in  advance  of  the  other.  Finish  the  stanza  with  a 
significant  nod  and  corresponding  shrug  of  the  shoulders. 

{2)  The  little  pauses  after  "  laugh  "  and  "talk,"  in  line  1,  fill  inap- 
propriately with  facial  expression,  bringing  the  hands  together  and 
spreading  apart,  as  you  say,  "put  them  all  off."  In  line  2,  stretch  the 
first  two  fingers  of  the  left  hand  widely,  and  hold  them  up  in  full  view 
of  the  audience,  while  explaining  that  "  there  just  remained  two  that  she 
seemed  not  to  scoff."  On  line  3,  give  the  two  fingers  (which  have  con- 
tinued to  be  elevated  and  stretched)  a  comical  look  and  shake  on  the 
word  "both."  Drop  the  gesture,  and  finish  the  stanza  in  a  lively  man- 
ner. This  holding  Of  the  two  fingers  is  one  of  the  awkward,  uncouth 
movements  referred  to.  and  if  rightly  managed  will  provoke  laughter. 
Of  course,  the  facial  expression  must  seem  equally  earnest  and  ludicrous. 

(3)  Practice  before  a  mirror,  a  movement  as  though  hugging  your- 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.       119 

self  with  both  arms,  which  you  may  use  in  line  2.  A  knowing  nod  and 
wink  are  permissible  at  the  close  of  line  3,  and  will  be  explained  while 
reciting  line  4. 

(4)  Suddenly  push  both  hands  obliquely  to  the  right,  on  the  word 
"  jumped,"  occurring  in  line  2.  Turn  obliquely  to  the  left  on  the  wTords. 
"  Och,  she  scolded ; "  then  to  the  right,  with  both  hands  supinely  ex- 
tended, during  the  impersonation  of  Sandy  McGee. 

(5)  On  line  2  Sandy  is  again  introduced ;  always  in  this  impersona- 
tion speak  to  the  right,  as  this  character  has  most  to  say.  Frown  as 
you  begin  this  speech.  Rub  the  top  of  the  head  (which  bends  down- 
ward) as  though  in  puzzled  bewilderment  and  thought;  then  let  the 
face  light  up  suddenly,  as  though  the  enigma  was  solved,  before  enun- 
ciating a  word  of  line  3.  Make  a  vital  gesture  with  right  thumb  when 
pointing  out  Ins  proposed  hiding-place.  Let  the  last  line  be  strongly 
colored  with  a  comical  satisfaction  and  admiration  of  his  own  superior 
wit  and  cunning. 

(6)  Begin  in  a  manner  quite  confidential.  The  hugging  gesture,  if 
made  after  a  droll  fashion,  may  come  in  whenever  the  word  hugging  is 
used.  The  downward  look  and  glance  behind  in  lines  3  and  4  suggest 
themselves. 

(7)  Now  we  come  again  to  a  characterization  of  that  archplotter, 
Sandy  McGee.  Let  the  body  sway  to  the  right,  use  the  aspirate  voice, 
and  blend  earnestness,  eagerness  and  a  strong  touch  of  the  ludicrous 
artistically  together  in  this  speech,  which  continues  throughout  the 
first  three  lines  of  the  seventh  stanza.  Render  the  "  Oh,  ho,  ho,"  line  4, 
in  a  soft,  sweet,  musical  head-tone,  lingering  long  on  the  last  syllable. 
her  the  forefinger-tip  of  the  right  hand  come  to  the  lip,  and  also  allow 
the  eyes  to  roll  quickly  to  and  fro,  as  if  to  say:  "  I  understand,  and  Til 
fix  him." 

(8)  This  begins  with  an  impersonation  of  Kitty;  remember  to  speak 
to  the  left.  After  the  conjunction  "but,"  in  line  2,  make  a  slight  pause, 
just  long  enough  to  blow,  as  though  "puffing  out  the  light,"  Blow 
once  more  (this  time  with  head  to  left)  "before  beginning  line  3.  Make 
gesture  on  "  hugged,"  and  let  a  laugh  run  through  the  words  of  Kate's 
speech,  which  ends  this  Btanza  and  begins  the  ninth 

(9)  Tut  both  bands  akimbo  while  saying"  0<-h,  now,  Sandy  McGee.1' 
Then,  turnings  little  sideways  and  Looking  over  the  shoulder  at  him, 
let  the  right  hand  rise,  making  a  full  .inn  movement  horizontal  with 
the  shoulder,  the  forefinger  of  tin-  prone  hand  pointing  despotically 
toward  the  door,  and  so  finish  line  3.  Shake  the  hand  knowingly  and 
in  a  very  pronounced  manner,  prolong  and  make  especially  strong  the 
emphasis  on  the  word  "  f ale,"  letting  a  triumphant,  laughing  tone  ring 
through  the  speech. 


120  EMMA   DUNNING   BANKS'S 

DOT'S  CHRISTMAS,    OR  THE  SOBER   HAT. 

i. 

'\  A  f.\\  down  a  narrow  alley  lived  a  little  girl  named  Dot. 

V  V        II,.,-  papa  once  was  wealthy,  but  so  long  since,  she'd  forgot 
The  pleasant  home  and  comforts,  and  the  dainty  clothes  she  wore, 
And  only  knew  her  papa  as  a  man  who  drank  and  swore. 
For  drink  made  all  their  misery ;*dragged  a  once  kind  father  down, 
Until  Dot's  pale-faced  iiiamm.i  shrank  in  fear  beneath  his  frown. 
How  Dottie  loved  her  mamma  I     How  her  little  heart  did  ache 
One  morning  as  she  started  forth  some  sewing  home  to  take' 

II. 

She  knew  her  mamma's  clothing  had  been  pawned,  her  jewels  sold, 

And  shivered  as  she  thought  of  coming  frost  and  winter's  cold. 

"  If  I,"  she  mused,  "  could  only  earn  a  thick,  warm  woolen  shawl 

I'd  make  ir  mamma's  ( 'hristmas."     .lust  then  a  merry  call 

Of  "  Morning  News,  sir,  Morning  News,  sir,  all  about  the  lire," 

Made  roses  leap  into  her  cheeks, — gave  birth  to  a  desire 

To  do  the  same — sell  papers  too!     She  ran  and  caught  the  boy ; 

"  <  ih.  won't  you  help  me.  please,"  she  cried,  "help  me  to  get  employ? 

III. 

"  I  want  to  earn  for  mamma  dear,  a  nice,  warm  Christmas  shawl; 
She  can't  keep  any  money  now,  pa  steals  and  drinks  it  all. 
She  coughs  all  night,  and  oil!  her  face  I  think  is  like  her  soul, 
So  pure,  so  white,  with  just  that  light,  that  shineson  heaven'sown  goal.  ' 
"  I'm  'fraid  they  won't  take  girls,  sis,  but  I'll  tell  you  what  I'll  do — 
111  give  you  »iy  place;  they  won't  know,  so  cheer  up,  don't  feel  blue ; 
For  I  don't  need  it.      You're  a  trump!  no,  you're  a  daisy,  there! 
You  look  like  one,  with  your  white  face  and  crown  of  golden  hair." 

IV. 

Dot  laughed  and  took  the  papers.    Soon  her  voice  rang  like  a  bell 
With  "  Morning  News,  sir;   Morning  News,  sir!  don't  I  cry  them  well?" 
From  tli.it  time  on,  with  each  new  dawn.   Dol  gleaned  a  little  time 
To  -ell  thl    papers  Thomas  brought,  and  hoarded  every  dime. 
The  people  found  her  story  out,  and  few  would  e'er  refuse 
When  little  blue-eyed  Dottie  cried :  "Please  buy  my  Morning  News!" 
She  earned  I  he  money  for  I  he  shawl,  and  found  enough  to  spare 
For  bright  red  stockings  and  for  shoes  for  her  own  feel  so  bare. 

V. 

She  bought  a  lovely,  soft,  warm  shawl,  our  sweet-faced  little  elf, 

And  then.  as  children  sometimes  do,  stood  talkjng  to  herself; 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       12 1 

"  You  ought  to  have  some  shoes,"  she  said,  "  Dottie,  you  know  you  ought. 

But  then,  there's  papa;  if  for  him  a  new  hat  should  be  bought— 

His  old  one  gets  so  tipsy— and  a  note,  like  this,  you  write: 

'  Dear  Papa:  Pray  to  God  for  strength  The  awful  drink  to  fight, 

And  He  will  help  you.  if  you  try.     < )  papa!  I've  forgot 

You  ever  had  a  sober  hat— take  this,  from  little  Dot.1 

VI. 
"  Perhaps  he'd  love  me  then,  and  try  real  hard  to  stop  the  drink. 
I'll  gO  right  off  and  buy  the  hat  before  I've  time  to  think. 
With  feet  so  cold  I  might  get  mean  and  treat  myself  to  shoes; 
1  need  them— but  dear  Jesus  says,  '  love  them  that  ye  abuse."' 

VII. 

As  Christmas  dawns,  upon  the  floor  lies  little  Dot  asleep. 
Her  father  bends  above  her— sight  to  make  the  angels  weep! 
He  grasps  the  hat.  and  then  the  shawl,  and  chuckles  in  his  glee: 
"  Just  what  I  want;  now  1  can  have  a  jolly  Christmas  spree." 
Wee  Dot  sleeps  on,  and  in  her  dreams  the  garret,  mean  and  small, 
Turns  to  a  palace  many  roomed,  with  carpets  like  her  shawl. 
Red  stockings  dance  a  merry  jig  with  a  bright,  new  pair  of  shoes, 
Her  father  wears  a  sober  hat,  and  reads  the  Morning  News. 

VIII. 
The  Christ  Child's  birthday  floods  the  earth  with  sunshine  bright  and 

fair. 
A-  Dottie  rises  from  her  dreams,  smooths  out  her  golden  hair 
And  turns  To  greet  her  mother,  with  a  happy  smile  and  blush  : 
'()    mamma,   did   you    like  your   shawl?"     "What    shawl?— 0    Dottie, 

hush, 
Don't  cry  BO;  what's  the  trouble,  dear?"    Dot  searches  all  around 
'Neath  chairs  and  under  bedclothes,  but  in  vain— no  shawl  is  found. 
"  t »  mamma,  I  have  worked  so  hard  to  buy  you  something  warm 
for  ten  long  weeks,  and  now  all-  gon< — "  solis  shook  the  little  form— 

IX. 
h.  as  yon  say,  the  Lord  is  good,  what  makes  us  suffer  so?" 
"  My  darling,  God  will  bring  things  righl  in  his  own  time.  I  know." 
Her  mother's  voice  chimed  sadly  sweet,  as  silver  bells  might  toll ; 
While  o'er  her  face  there  shone  thai  light  Dot  thought  so  like  her  soul. 
What!  darkened  all  the  doorway?    No,  "lit  it  up."  Dot  said; 
For  there  stood  papa  I  sober,  tool    The  Imt  was  on  his  heat  I. 
lb-  clasped  the  shawl  'round  mamma  with  a  pressure  close  and  snug, 
A m  1  then    with  something  like  a  m>i>    gave  Do1  a  kiss  and  hug. 


122  I'M  MA   DUNNING   BANKS'S 

X. 
"  Here,  Dottie,  take  this  basket,  child."    Dot  did,  and  raised  a  shout; 
Then  Bwung  it  high— red  stockings,  shoes  and  chicken  tumbled  out. 

Warm  mittens,  too,  and  a  new  dress.     "()  papal  tell  me  how 

Yon  got  the  money  for  these  things."     "  Yes,  dear,  111  tell  you  now. 

lou  know  1  was  a  lawyer  onee;   well,  just  as  I  had  signed 

The  pledge1' "0  papa '2—'* Husband" "one  who  knew  me  felt 

inclined 
To  trust  me  with  a  case  right  off.     Of  course  he  paid  his  fee, 
And  my  first  thought  was,  '  now  we'll  have  a  jolly  <  hristmas  glee.' 

XI. 

"  For  when  I  read  Dot's  little  note,  and  saw  the  sober  hat, 

My  old  one  did  look  tipsy;  so  I  threw  it— quick  as  that— 

And  made  resolve,  with  God's  good  help  to  live  a  better  life; 

Try  home  and  name  to  win  again,  for  Dot  and  you,  dear  wife." 

And  so  he  did.     His  practice  soon  became  the  best  in  town. 

Our  newsboy  studied  with  him.  and  in  time  won  great  renown. 

And  Dot?    She  grew,  and  grew,  and  grew!  you  never  would  believel 

And  married  that  same  newsboy,  just  a  year  this  Christmas  Eve! 

LESSON-TALK. 

(1)  Let  the  tones  of  the  voice  be  natural  and  sympathetic.  Make  a 
descending  prone  gesture  on  the  word  "  down,"  in  line  5,  with  a  little, 
shrinking  movement  accompanied  by  corresponding  facial  expression 
and  knitting  of  the  brows  in  the  line  following.  A  little  movement  for- 
ward with  the  right  hand  would  be  correct  on  the  words  "  started  forth  " 
occurring  in  line  8. 

(2)  Let  a  little  suggestive  shiver  pervade  your  frame,  as  though  in 
harmony  with  the  feeling  of  the  child,  while  reciting  line  2;  and  then 
looking  down  contemplatively  in  a  musing  sort  of  attitude,  begin  the 
soliloquy,  interrupting  it  with  a  quick  glance  at  the  audience,  and  a 
little  explanatory  nod  on  the  words  "she  mused,"  then  resume  position 
and  continue.  Before  the  words  "mamma's  Christinas."  make  a  little 
pause.  Fill  it  in  with  the  following  action :  Let  the  whole  face  light  up, 
as  though  inspired  by  some  sudden,  joyful  thought,  and  clasp  the  hands 
together  with  a  swift  movement  expressive  of  delight,  letting  the  tone 
ring  out  with  feeling.  Prolong  the  merry  notes  of  the  newsboy's  call, 
aging  contralto  or  chest-tones,  saving  the  head-tones  for  Dot  later  on. 
A  rapid  rate  of  utterance  prevails  throughout  lines  n  and  7,  making  ap- 
propriate pauses  where  the  dashes  occur,  swaying  slightly  to  the  right 
and  gesticulating  in  that  direction  as  you  say  "she  ran  and  caught  the 
boy."    Make  the  hues  beginning  Dot's  speech  very  pleading  and  sweet. 


ORIGINAL   RECITATIONS   AND   LESS  ON- TALKS.       123 

(3)  On  lines  2  and  3,  move  a  little  to  the  right  and  lower  the  voice 
confidentially.  A  touch  of  awe  and  reverence  must  pervade  line  4, 
finishing  with  an  ascending  gesture  toward  heaven.  Let  the  tones 
throughout  be  light  and  childish,  using  a  much  deeper  tone  while  ren- 
dering the  words  which  characterize  the  newsboy.  Look  to  the  left 
and  begin  with  a  negative  shake  of  the  head.  The  prevailing  expres- 
sion should  be  one  of  pity,  blended  with  amusement,  when  saying 
doubtfully  "  I'm  'fraid  they  won't  take  girls,  sis,"  remembering  to  pause 
before  and  after  the  conjunction  "but/'  as  though  planning  how  to 
help  the  little  girl.  Then  the  face  must  glow  with  generous  resolve. 
Raise  the  right  hand,  clinch  the  fist  and  let  it  come  down  on  the  palm 
of  the  left  hand  with  a  real  manly  and  emphatic  blow,  as  if  to  say 
'that's  the  ticket."  The  climax  of  this  gesture  should  come  on  the 
words  v  my  place."  Turn  to  the  right,  with  an  indifferent  manner,  as 
though  going  to  walk  off.  when  you  say  " for  I  don't  need  it;"  then 
turn  again  suddenly  to  the  left,  and  with  boyish  enthusiasm  and  ex- 
uberance of  manner  finish  the  stanza. 

(4)  Dot's  call  is  an  imitation,  in  the  soprano,  of  the  newsboy's.  The 
action  work  for  both  consists  in  an  alternate  swaying  of  the  body  and 
hand  to  right  and  left,  as  though  offering  papers  for  sale  in  a  busy 
thoroughfare.  Extend  right  hand  in  a  pleading  gesture  during  Dot's 
speech  in  line  <!. 

A  very  pretty  piece  of  work  can  be  made  of  Dot's  soliloquy  as 
Bhe  Stands  there,  looking  down  ruefully,  first  at  one  foot  and  then  at 
the  other.  During  the  pause  after  the  word  ••papa."  in  line  4,  bring 
the  hands  swiftly  together  once  more,  to  express  delight.  Separate  as 
swiftly,  and  make  a  -.-lure  of  repugnance  with  right  hand,  as  though 
pushing  something  away,  on  the  words  "so  tipsy."  Use  the  forefinger 
of  the  right  hand  and  the  palm  of  the  left,  as  imaginary  pen  and  paper, 
while  planning  the  proposed  letter,  enumerating  the  words  somewhat 
slowly  and  with  cunning,  little,  positive  jerks  of  emphasis  here  and 
there. 

(6)  Summon  the  clasping  gesture  of  delight  once  more  to  your  aid. 
then  separate  and  make  a  double  gesture  to  the  right  (one  hand  in  ad- 
vance  of  the  oilier,  with  an  impulsive  movement,  during  line  2.  <>n 
the  words  "with  feet  bo  cold,"  pause  as  though  a  little  undecided  still, 
hesitating  and  examining  first  one  toot,  then  the  other  when  you  say: 
"I  need  them.''  A-  the  struggle  With  selfishness  ends,  raise  the  eyes 
and  finish  with  an  ascending  right  hand  gesture,  holding  the  pose  for  a 

brief  space  after  t  he  lines  are  finished. 

(7)  To  render  this  scene  correctly,  imagine  thai  you  see  the  picture, 
and  thai  your  mission  is  to  tell  your  audience  what  you  see.  Do  this 
by  sympathetic  feeling  and  appropriate   pantomime  work      Lei   the 


124 


EMMA    DUNNING  BANKS'S 


father's  voice  ring  out  in  his  drunken  glee,  raising  the  hand  aimlessly 
in  air  as  though  Bhaking  the  Bhawl,  giving  vent  at  the  same  time  to  a 
wilil.  reckless  Laugh  When  beginning  line  5,  extend  the  right  hand  in 
a  prone  gesture,  as  though  over  the  place  Where  I  > « > t  Lies  sleeping.  In 
the  next  Line,  make  curving  movements  on  high  to  illustrate  the  idea 
Of  stalely,  arching  rooms.      Finish  brightly  and  pleasantly. 

(8,  9)  The  mother's  voice  must  be  Low,  gentle  and  sweet,  contrasting 
with  the  high,  vivacious  tones  of  the  child.  When  personating  the 
grief-Stricken  child,  many  pauses,  sobs,  gasping  breaths  and  choked 
utterances  must  be  introduced.  Quick,  startled  astonishment  and  an 
almost  incredulous  joy  color  lines  5  and  <i  of  the  ninth  stanza,  and  the 
rest  is  simply  conversational.  Let  feeling  he  your  guide  and  the  action- 
work  will  surest  itself.  It  consists  mainly  in  a  quick  turning  of  the 
child  to  her  mother:  a  pointing  here  and  there  to  describe  her  search  ; 
a  pitiful  and  intense  wringing  of  the  hands  in  grief,  throwing  them  out 
in  an  abandonment  of  despair  on  the  words  "  what  makes  us  suffer  BO?" 
Point  to  the  doorway  when  beginning  line  5,  giving  a  knowing  little 
nod  combined  with  a  swift  circling  of  the  hand  above  the  head  to  finish 
the  line,  and  the  action-work  is  completed. 

(KM  Deep  voice  for  the  father.  Excited  tones  and  rapid  utterance 
during  description  of  the  scene. 
(  (11)  A  snapping  of  the  fingers  or  any  preferred  gesture  on  the  words 
"quick  as  that/'  A  reverent  uplifting  of  hands  and  eyes,  on  the  words 
"God's good  help."  A  gesture  first  to  the  right  and  then  to  the  left, 
when  alternately  designating  Dot  and  her  mamma.  Finish  pleasantly 
and  with  the  atmost  simplicity. 


G 


A  BASTING  THREAD. 

KAN  DMA  was  nodding,  1  rather  think; 

Barry,  tin-  rogue,  sly,  quick  as  a  wink, 


Climbed  softly  back  in  hergreal  arm-chair, 
Nestling  himself  very  cozily  there. 

Grandma's  dark  locks  were  mingled  with  white; 

Quickly  this  fact  dawned  on  tin-  boy's  sight. 
Grandma  fell  a  sharp  twinge  in  her  hair. 

And  woke  with  a  start  to  find  Harry  there. 

'Why,  uh.it-  Harry  doing  to  grandma?  "  she  said; 
He  answered,  "  Pa  pullin1  a  bastin'  tread!" 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS. 


125 


THE  SPINNING-WHEEL  SONG. 


M6LL0W  the  moonlight  to  shine  is  beginning; 
Close  by  the  window  young  Eileen  is  spinning. 
Bent  o'er  the  fire,  her  blind  grandmother,  sitting, 
Is  crooning,  and  moaning,  and  drowsily  knitting. 
'  Eileen,  achora,  I  hear  some  one  tapping." 
"Tis  trie  ivy,  dear  mother,  against  the  glass  flapping." 
'  Eileen,  \  surely  he*ar  somebody  sighing." 
•  Tis  the  eound,  mother  dear,  of  the  summer  wind  dying." 

II. 

Merrily,  cheerily,  noisily  whirring,  zzz — zzz— zzz — zzz — 

Swings  tne  wheel,  z-z-z-z,  spins  the  reel,  while  the  foot's  stirring; 

Sprightly,  and  lightly,  and  airily  ringing 

Thrills  the  sweet  voice  of  the  young  maiden  singing. 


^^^fe^^^iii 


-XT- 
What's  this    dull   wheel      to     me?       Ko  -  bin's      not      here. 


r=): 


g^-^-*^  —  -V* 1 — — I 


He    whom     I       wish'd      to    see,        Ro    -  bin        A    -     dair. 

III. 
'  What's  tli.it  noise  tli.it  I  hear  at  the  window,  I  wonder?" 
"  'Tis  the  little  birds  chirping  the  holly-bush  under." 
What  makes  you  be  Bhovin1  and  movin'  your  stool  there, 
And  singin' all  wrong  thai  Bong' Robin  Adair?'" 
There's  a  form  at  the  casement     the  form  of  her  true  love. 
And  he  whispers,  with  face  bent,  "I'm  waiting  for  you,  love: 
Set  up  on  the  stool,  through  the  lattice  step  lightly, 
We'll  rove  in  the  grove  while  the  moon's  shining  brightly." 


IV. 
Merrily,  cheerily,  noisily  whirring,  zzz— zzz — zzz — zzz — 
Swings  the  wheel,  z  z  z  z,  spin-  the  reel,  while  the  toot's  stirring; 


126  EMMA   DUNNING  BANKS'S 

Sprightly,  and  lightly,  and  airily  ringing, 

Thrills  the  Bweel  voice  of  the  young  maiden  singing. 


:4=* 


Ev  -  ery    las  -  sie    has     her   lad  -  die,  None  they  say  have    I, 


e 


Yet     a'    the  lads  they  smile  at  me,  When        coin-in'  thro'  the     rye. 


V. 
Tlic  maid  shakes  her  head,  on  her  lip  lays  her  fingers, 
Steals  up  from  her  seat,  longs  to  go,  and  yet  lingers; 
A  frightened  glance  turns  to  her  drowsy  grandmother, 
Puts  one  foot  on  the  stool,  spins  the  wheel  with  the  other. 
Lazily,  easily,  swings  now  the  wheel  round. 
Slowly  and  lowly  is  heard  now  the  reel's  sound; 
Noiseless  and  light  to  the  lattice  above  her 
The  maid  steps — then  leaps  to  the  arms  of  her  lover. 

VI. 

Zzz — slower — zzz — and  slower — zzz — and  slower  the  wheel  swings; 
Zzz — lower — zzz — and  lower — zzz — and  lower  the  reel  ring*" 
Ere  the  reel  and  the  wheel  stop  their  ringing  and  moving, 
Through  the  grove  the  young  lovers  by  moonlight  are  roving. 

—John  F.  Waller. 


LESSON-TALK. 

The  young  lady  giving  the  recitation  might,  if  she  wishes  to  make 
up  in  any  manner,  wear  a  wig  arranged  in  two  braids  hanging, 
juvenile  fashion,  to  the  waist.  A  short  skirt  of  alternating  stripes  of 
Bcarlel  and  white  would  combine  prettily  with  a  peasant  bodice  of 
cither  blank  or  red.  and  a  guimpe  or  underwaist  of  white  mull.  Jaunty 
slippers  and  black  hose  complete  this  simple  and  inexpensive  costume. 
Thus  attired,  let  the  young  lady  give  the  recitation  with  appropriate 

action  work,  and  then  step  behind  t  he  scenes  and   take  her  place  in  the 

tableau-pictures,  which  are  then  displayed. 

First  Picture. —  The  scene  should  be  a  kitchen  interior.  At  the  right 
it-  a  large,  high  spinning-wheel,  beside  which  the  maiden  stands  to  spin. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       127 

Bent  o'er  the  fire  the  old  grandmother  sits,  knitting,  at  the  left.  Her 
dress  is  of  calico,  a  short,  faded  shawl  reaches  to  the  waist -line,  and  is 
crossed  over  her  breast.  The  costume  is  completed  by  a  quaint  white 
cap  bordered  by  an  immense  ruffle.  A  low  window  with  stool  con- 
veniently near,  is  at  the  right. 

Second  Picture. — The  grandmother  is  seen  standing,  bent  with  age, 
the  forefinger  of  her  right  hand  pointed  menacingly  at  the  girl,  who 
stands  the  picture  of  roguish,  saucy  confusion,  as  she  wards  off  with 
her  right  hand  her  lover  at  the  lattice. 

Third  Picture. — Grandma's  suspicions  are  lulled;  she  has  reseated 
herself;  but  the  girl  stands  poised  on  the  window-ledge,  looking  back 
over  her  shoulder  at  the  old  lady  ere  she  makes  her  leap  into  the  out- 
stretched arms  of  her  lover,  who  stands  waiting. 

Foti rt I,  Picture. — Ere  the  curtain  is  raised  for  the  finale,  the  wheel 
is  started  whirling  vigorously  and  then  the  curtain  remains  raised  until 
the  wheel  .-lowly  stops. 

(1)  A  pleasantly  natural  rendition  characterizes  line  1.  In  line  2,  a 
pause  after  the  word  "  close ,1  will  be  appropriately  filled  in  by  a  gesture 
of  location  toward  the  right,  where  the  maiden  stands  spinning  at  her 
wheel.  After  the  word  "  bent,*'  the  same  business  is  called  for.  toward 
the  left,  as  the  grandmother  is  pointed  out.  Make  pauses  after  the 
words  "crooning"  and  "  moaning,11  also  just  before  uttering  the  words 
"drowsily  knitting;"  fill  in  the  last  pause  by  a  double  gesture  as  though 
knitting.  Thevoiceof  the  old  lady  is  harsh,  tremulous  and  croaking, 
and  is  formed  by  continuous  and  somewhat  rapid  strokes  of  the  glottis. 
Her  body  is  shaky  with  age,  her  chin  wobbles,  and  her  forefinger  agi- 

tates  uncertainly  and  menacingly  in  the  air  throughout  her  s] ch. 

The  girl,  after  alternate  glances  from  grandmother  to  window,  puts 
both  bands  behind  her  and  delivers  line  (5  in  an  enjoyably  mischievous 
manner.  Before  uttering  lines,  let  her  shade  her  eyes  with  her  hand 
and  peer  anxiously  from  the  window,  to  see  if  her  lover  has  come. 

(2)  The  acl  ion-work  during  the  chorus  or  second  stanza  is  exception- 
ally pretty  and  effective.  The  feet  are  widely  separated,  the  right 
pointing  decidedly  to  the  right,  the  left  to  the  front  or  audience.  The 
body  sways  somewhat  back,  and  the  weight  is  entirely  on  the  left  foot. 
The  righl  loot  i-  poised  on  the  heel  with  toes  in  the  air.  and  during  the 

treadle-motion    they  do    not    touch    the   floor.      To   the   words   "merrily, 

cheerily,  noisily  whirring,"  there  are  two  beats  of  the  foot  on  an  imag- 
inary treadle,  to  each  word.    The  knees  bend  and  the  body,  from  the 
waisl  line  down,  dips  in  sympathy  with  movement  ami  sentimenl  ex- 
ed.     This  must  and  can  be  made  very  graceful.     With  each  word, 

the  righl   hand   ami  arm  start   in  a  downward    movement   from    the   out 
Ride,  and    ••011011-  to  the    trout,   move  upward    and    then   downward  and 


128  EMMA    DUNNING   BANKS'S 

buck,  in  ;i  manner  descriptive  of  a  large  wheel  or  circle.  This  circling 
movement  is  made  once  i<>  every  word  of  the  first  line,  or  every  two 
beats  of  the  foot.  Alter  line  1  continue  the  same  ad  ion-work  with  the 
foot,  and  trace  tour  more  imaginary  circles  or  large  wheels  in  the  air. 
These  wheels  pass  below  the  waist  line  and  above  the  head  in  their  cir- 
cling course,  and  are  very  large.      As  you    begin  each  01 1'  the  four 

circles  on  the  downward  stroke  make  use  of  t  lie  phonetic  sound  of  the 
letter  "z"  to  illustrate  the  heavy,  buzzing  sound  of  the  wheel;  then 
say.  'swings  tin'  wheel.*'  Now  make  tour  light  humming  tones,  and 
four  slight  pushing,  pointing  movements  toward  the  reel,  the  tones  and 
gestures  being  made  in  time  to  the  treading  motion,  which  consists  of 
two  foot  beats  to  each  turn  of  the  wheel,  and  then  you  say  "spins  the 
reel,"  and  let  the  forefinger  drop  as  though  pointing  to  the  foot  and 
say  "while  the  foot's  stirring.'"  Please  notice  that  no  changes  are  to 
be  made  in  the  position. of  the  feet,  except  that  of  weight.  During 
lines  4  and  ■">  the  body  sways  to  the  right  until  the  weight  rests  entirely 
upon  the  right  foot.  At  the  close  of  the  stanza  let  the  Aveight  of  the 
body  sway  back  upon  the  left  foot  ;  lilt  the  toes  of  the  right  foot;  and 
resume  all  the  spinning-wheel  action  again,  the  moving  of  the  foot 
upon  the  treadle,  and  the  circling  of  the  hand  and  arm  for  the  wheel; 
at  the  same  time  singing  "  Robin  Adair,"  here  given. 

(3)  Here  the  grandmother  interrupts  in  the  same  harsh,  tremulous 
croak  as  before.  The  maid  again  assures  herself  by  glancing  out  of  the 
window,  and  then  turning  in  agitated  confusion  frames  her  reply.  1 
have  taken  The  liberty  of  substituting  for  the  word  "  on,"  at  the  close 
of  line  :!.  The  word  "there,"  and  of  making  line  4  read  thus:  "that  song 
Robin  Adair."  This  change  is  made  in  order  to  introduce  the  title  of 
the  song  sung  by  the  maiden.  The  lover's  speech  is  aspirated  through- 
out. 

(4)  Action-work  is  similar  to  that  of  second  stanza.  The  song  intro- 
duced at  the  close  is  that  of  the  chorus  of  "('niiiiii'  thro1  the  Rye." 
Using  lefl  band,  touch  the  breasl  lightly  with  an  arch  smile  and  nod 
on  the  word  "me."    Glance  alternately  from  the  wheel  to  the  audience. 

(."))  Appropriate  action-work  is  suggested  by  the  first  three  lines. 
After  the  word  "puts"  a  long  pause  is  demanded,  filled  in  by  the  fol- 
lowing action-work:  Taking  hold  of  the  dress  daintily  on  either  side 
with  both  hands,  slightly  raise  it.  while  glancing  back  and  forth  from 
the  grandmother  to  the  lover  at  the  lattice,  and  furtively  measuring 
tin-  distance  from  the  wheel  to  the  stool.     Put  the  right  foot  farther 

and  farther  out;  then,  as  it  reaches  its  resting-place,  say  with  a  sugges- 
tion of  work  in  the  voice  "one  foot  on  the  stool. "  Then  let  the  skirts 
fall,  and  with  a  ripple  of  laughter,  move  the  left  foot  and  begin  the 
treadle  motion,  laughing  and  pointing  to  it,  as  you  say,  "spins  the 


ORIGINAL  RECITATIONS  AXD  LESSON-TALKS.       129 

wheel  with  the  other.*'  Now  make  four  slow,  heavy,  buzzing  sounds 
upon  "z"  using  left  foot  for  treadle  and  left  hand  for  the  circling 
movement,  and  facing  full  front  instead  of  to  the  right,  as  before.  Now 
render  line  ■>.     Four  faint,  buzzing  sounds  are  now  made,  and  then  line 

6  is  recited.     An  ascending  gesture  and  glance  to  the  right  during  line 

7  and  the  first  three  words  of  line  8.  Utilize  the  pause  after  the  word 
"  steps''  by  shading  the  eyes  with  the  right  hand;  make  a  double  ges- 
ture by  flinging  the  arms  to  the  right  on  the  word  "  leaps,''  and  finish 
the  stanza. 

(6)  The  wheel  moving  by  itself  must  now  engage  your  attention. 
Pause,  laugh  and  point  to  it,  making  a  buzzing  sound  and  circling 
movement  of  the  arm  ;  then  say  "  slower."  As  the  wheel  moves  of  itself, 
no  foot  motion  is  necessary.  Repeat  this  action  and  buzzing  sound 
where  there  are  dashes.  Before  beginning  line  2,  incline  the  head,  listen 
and  make  a  faint  buzzing,  repeating  this  also  where  the  dashes,  which 
represent  pauses,  occur.  A  mischievous  laugh  runs  throughout  the 
words  and  colors  the  facial  expression.  The  circling  movement  of  the 
hand  during  line  4  finishes  by  a  move  backward  and  a  little  courtesy 
Lit  the  close. 


OH!  he 
nine. 


TOTAL  ANNIHILATION. 
1. 

was  a  Bowery  boot-black  bold,  and  his  years  they  numbered 


Rough  and  unpolished  was  he,  although   he  constant  ly  aimed  to  shine. 

II. 

As  proud  a-  a  king  on  his  boa  he  >it.  munching  an  apple  red, 

While  the  boys  of  his  set  Looked  wistfully  on,  and  "Give  me  a  bite!" 

they  said. 

III. 

Butthebool  black  smiled  a  lovely  smile, "  No  free  bites  here!'1  be  cried, 
Ami  tin'  boys,  1  hey  Badly  walked  away,  save  one,  who  stood  by  his  side. 

IV. 

"Bill,  give  ii~  tlic  core,"  he  whispered  low.    That   1 t  Mack  smiled 

once  more, 
Anda  mischievous  dimple  grew  in  his  cheek,     "There  ain'i  goin  ter 

be  no  core." 

M  \\\\    l>.    Bki.nk. 


30  EMMA    DUNNING   BANKS'S 

ALINE'S  LOVE  SONG. 


HOW  delightfully  cozy  the  parlor  now  looks 
All  alight, — sweet  with  perfume  from  llower-scented  nookss 
Soft,  rare  pictures  by  masters  adorning  the  walls, 
Ami — some  one  is  wishing  that  some  one  would  call. 
Ah!  how  daintily  pink  is  the  fair  rose-leaf  skin; 
Blue-bell  eyes  all  ashine, — listen!  hark!  from  within 
Comes  a  voice  raised  in  song.     As  she  walks  to  and  fro 
Her  secret  bursts  forth  in  a  trill  sweet  and  low. 

II. 

' Tra-la-la-la-la-la — Ah!  now  what  did  he  mean, 
When  he  laughingly  called  me  his  '  bonnie  white  queen  V 
To  be  queen  o'er  his  heart  would  seem  honor  more  great 
Than  reigning  o'er  worlds,  high  in  honor  and  state. 
Tra-la-la-la-la-la.    Of  my  heart  he  is  king, 
And  his  voice  low  and  sweet,  seems  with  music  to  ring. 
His  brown  eyes  are  so  merry,  their  glance  is  so  clear, 
One  gleam  from  their  depths  speaks  of  sunshine  and  cheer. 

III. 

'  Tra-la-la," — Hist!  a  step  in  the  hall, — sudden  hush  in  the  song; 
A  quick  scurry  of  dimples  hack  where  they  belong; 
Snow-white  hands  give  a  smooth  to  the  hair's  golden  wealth, 
And  oh  ! — so  demure, — she  asks  "  after  his  health. 
Glad  to  hear  he  is  well,  so  surprised  at  his  call ! 
How  delightful  the  weather,  iliis  time  in  the  fall." 
All  heart  blushes  and  dimples  kept  rigid  in  school, 
And  voice  is  so  pleasantly,  properly  cool. 

IV. 
His  laugh  rings  out  aloud.— "  Ha-ha,  pretty  Aline, 
( )r  say  rather,  my  own  little  bonnie  white  queen  ; 
Sou  have  named  me  your  kin^-.  so  to  me  you  belong, — 
I  stayed  al  the  door.  love,  and  heard  ;ill  your  song." 
Now  the  curling  gold  hair  meets  1  lie  blush  on  her  cheek; 
Tie-  deep  dimples  chase  siniles,  playing    hide-and-go-seek  " 

<  <er  the  fair,  girlish  face,  as  he  calls  her  his  bride. 

And  crowns  her  his  queen,  come  wha'te'er  may  betide. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       131 

V. 

How  enticingly  cozy  the  parlor  now  looks; 
The  light  glimmers  but  dimly  o'er  pictures  and  books. 
Closely  drawn  to  the  fire,  a  large  Turkish  arm-chair 
Proves  blissfully  equal — to — holding  a  pah. 


LESSON-TALK. 

Imagine  two  rooms,  yourself  in  one  of  them.  The  room  which  you 
are  in  is  separated  from  the  well-lighted  parlor  beyond  by  an  archway 
on  your  right.  Now  place  yourself  by  the  archway,  it  is  but  a  step 
from  where  you  are  standing;  you  will  notice  the  portiere  is  drawn, 
ever  so  slightly,  but  still  enough  to  enable  you  to  peep  within,  and 
depict  whatever  you  may  see  and  hear  to  your  audience,  whom  you 
must  endeavor,  by  your  manner,  to  make  at  once  sympathetic  and 
curious.  Believe  that  you  are  going  to  see,  hear,  and  disclose  some- 
thing, imagine  you  do  see  it,  and  then,  and  then  only,  are  you  ready 
to  tell  it. 

(1)  Incline  the  weight  forward  on  the  right  foot,  head  in  sympathy, 
and  for  an  instant  slightly  shade  the  eyes,  as  if  the  light  were  too  much 
for  them,  as  you  peer  into  the  mysteries  of  the  room  beyond,  and  in  a 
pleasant  conversational  tone  utter  the  first  two  lines,  letting  the  eyes 
rove  about  as  if  scanning  the"  pictures  "  when  you  repeat  line  3.  Inline 
4  fill  in  the  ellipsis  after  the  conjunction  "and"  with  a  little  knowing, 
confidential  nod  at  the  audience,  being  careful  to  give  an  especial  stress 
each  time  you  utter  the  words"  some  one.''  The  next  line  and  a  half  give 
in  an  effusive  tone,  full  of  admiration  of  the  pretty  picture  made  by 
the  girl.  Interrupt  yourself  suddenly,  incline  your  right  ear,  holding 
your  hand  near  it  as  if  to  catch  the  sound,  your  face  will  naturally  in- 
cline to  the  left,  then  say:  "listen!  hark!"  and  so  on.  The  full  pause 
after  the  word  "song'1  fill  in,  by  again  turning  to  peep  within.  Let 
your  face  li^ht  up  in  a  manner  evincive  of  discovery,  and  you  are  ready 
to  finish  this  stanza,  and  depict  the  second  by  imitating  the  girl  as  you 
saw  tier  when  you  peeped  through  the  curtain,  first  singing  and  walk- 
ing, then  Btopping  to  speak.  The  singing  and  walking  come  in  on  lines 
i  and  5.  The  music  is  not  arbitrary,  any  air  being  permissible.  A  cul- 
1  ivated  singer  may  Introduce  a  trill  with  fine  effect. 

T  O  O  T* 

fj  ' 

Igi  line    I  Tra  la  la     —     la  la  la       Ah!  now  what  did  he  mean, 
5th  line  I  Tra  la  la  la  la  la       <)(  my  heart  he  is  king. 

A.  caution  in  regard  to  the  song  and  walk:     Don'toverdo  this  busi- 


132  EMMA   DUNNING  BANKS'S 

ness.  If  you  do,  you  arc  apt  to  lay  yourself  open  to  the  imputation  of 
attempting  to  suggest  a  "  song-and-danoe  artist." 

(2)  Let  your  arms  fall  loosely  in  front  of  yon.  clasping  your  hands 
meditatively.     Take  a  step  or  two  to  the  right,  then   to  the  left,  while 

singing  the  syllables  "  Tra-la-la:la-la-la."    Then  give  a  little  start  and 

stop  as  if  some  pleasant  thought  had  come  to  you,  unclasping  the 
hands  quickly  and  impulsively  and  carrying  the  forefinger  of  the  right 
hand  up  to  the  parted  lips.  All  this  must  he  done  just  after  the  inter- 
jection "Ah!"  and  almost  simultaneously  with  the  words  following.  A 
clasping  of  the  hands  and  emphasis  of  the  head  are  permissible  on  "o'er 
his  heart."  Make  an  impulsive  yet  not  too  spreading  movement,  by 
unclasping  and  throwing  the  hands  apart  when  you  say  "  reigning  o'er 
worlds."  In  line  :>.  as  in  line  1,  turn  to  the  right,  then  left  on  the  sylla- 
ble "  la,"  keeping  to  the  left  and  nodding  over  your  right  shoulder,  as 
if  to  say.  "  there's  the  secret  "  when  you  sing,  "of  niy  heart  he  is  king." 
Then  stop,  ami  talk  the  rest  of  the  stanza  through.  The  action  re- 
quired is  that  of  innocent,  girlish  abandon,  and  must  seem  full  of  a 
spontaneous  naturalness,  free  and  fresh  as  "the  winds  that  blow." 

(3)  You  are  only  allowed  to  begin  the  song,  ere  you  perceive  that 
she  whom  you  imitate  is  interrupted.  You  are  her  faithful  minor,  by 
which  your  hearers  are  led  to  see  and  hear  all  that  she  does.  There- 
fore, your  watch  again  begins.  Line  3  illustrate  by  a  quick  movement 
of  both  hands.  Now,  as  though  you  enjoyed  imitating  this  young  lady, 
draw  your  face  down,  after  the  most  approved  model  of  old  maiddoni 
extant.  Be  sure  and  break  up  her  little  conventional  speeches,  by  in- 
troducing a  faint  COUgh,  a  stammer  and  an  "  er  "  here  and  there. 

(4)  The  merry,  ringing  laugh  and  deep,  full  voice  of  Aline's  lover 
will  suggest  themselves.  Work  your  audience  tip  to  a  thorough  enjoy- 
ment of  wh.it  is  coming,  before  portraying  in  words  the  picture  em- 
bodied in  the  last  stanza,  by  appropriate  pauses,  attitudes  and  facial 
expression,  almost  on  tiptoe,  as  you  peep  once  more  within  the  parlor. 

(5)  With  a  glance  full  of  mischievous  expression,  enunciate  the  word 
"now,"  in  line  1,  with  a  strong  stress  and  slide.  Mock  surprise  colors 
line  '2  strongly.  Give  a  quick  start  backward,  knit  the  brows  slightly, 
letting  a  pleased  look  about  the  mouth  betrayyou;  then  say  the  line 
slowly,  in  ;i  pu/./.led.  bewildered  manner,  with  an  air  which  seems  to 
Bay  1  can'1  understand,  will  some  one  explain?  What  caw  be  the 
reason— the  tfghi  is  turned  down?'1  Simulate  surprise,  at  the  same 
time  disclose  that  it  is  but  simulation.  Facial  expression  and  quick 
movements  of  the  hands  and  torso  must  aid  yon  in  the  next  pantomime. 
Act  ,ts  though  you  thought,  "Oh,  what  fun!  If  you  could  see  what  T 
do'  Shall  I  tell?  No — yes,  I  will,  it  is  too  good  to  keep."  After  one 
more  peep,  throw  indecision  aside,  and  with  many  pauses  and  peeps, 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.       133 

and  evident  enjoyment,  say  all  but  the  last  three  words.  Tiptoe  still 
closer,  and  with  a  face  all  alive  and  alight  with  mirth,  hold  your  audi- 
ence in  a  suspense  already  half  interpreted  by  your  manner.  Then 
with  a  laugh,  rippling  and  running  through  the  words,  say :  "  holding 
a  pair." 


AUNT   RHODY'S   DREAM. 
1. 

WAL,  yes,  we  quarrelled  eout  and  eout,  old  Deacon  Jones  and  me, 
Abeout  winch  had  The  better  right,  eour  heavenly  hum  tew  see. 
Tew  tell  the  story  fair  an*  square,  this  was  abeout  the  gist: 
The  deacon  was  a  Baptist  man,  an*  I  was  Methodist. 
We'd  neighbors  been  for  many  a  year,  an1  never  had  a  word; 
But  when  he  said,  I  "must  be  washed,"  old  Adam  in  me  stirred. 
Tew  tell  me,  who  had  been  so  true  to  all  eour  church's  creed 
An'  never,  when  I  was  a  gal,  wore  bracelet,  ring  or  bead, 

II. 
Who  held  a  bright  blue  dress  a  sin.  a  pink  one  wusser  yet; 
When  natur'  tried  my  hair  to  curl,  with  soap  my  locks  did  wet 
Ontel  they  laid  areound  my  head  as  smooth  an*  sleek  as  jet. 
An'  never  danced  nor  shook  my  foot  to  please  the  devil  yet — 
An    yet  th.it  man  said,  eout  an"  eout.   I  couldn't  lie  forgiven 

Onless  my  sins  wer< — Baptist-washed,  an'  couldn't  go  1<>  heaven. 
It  riled  me  some.  1  must  confess,  I  pit  as  mad  as  fire 
An'  sed  more  than  a  Christian  should,  in  Methodistic  ire. 

III. 
\\i-\\  happened  in  lew  tea,  an'  bo  I  gave  it  to  him— hot. 
An'  said  some  things  T>eou1  washin1  clean  I  ^ruess  he  ne'er  forgot. 
He  scowled  al  me.  [  glared  at  him;  he  raised  his  fist  and,  bang  1 
It  fell  upon  the  table  leaf;  heow  cups  ami  sassers  rang  I 
I  raised  my  biggest,  strongest  voice,  I  gave  it  to  him  so. 
•  You  Bneakin1  Baptist  hypocrite,  neov  take  yeour  hat  an  go!" 
I  hild  his  li.it.  he  snatched  it  up  an1  in  his  awful  ire 

Sot  it  diown  in  some  mince  pie  meat  a  standin'  near  the  lire. 

IV. 

The  lasses  hi  thai  mince  pie  meat  ua 'n't  Btirred as 'torter  been 

An'  tew  the  creown  of  t  hat  silk  hat  it  si  uck  as  clus  as  sin. 


134  EMMA   DUNNING  BANKS'S 

The  deacon  groaned,  as  niuch's  to  say,  "Oh,  quickl  Bome  water  bring;'1 

I  was  tew  mad;  I  turned  my  hack,  an' this  began  tew  sing: 
"Oh.  Baptist,  Baptist  wuz  yeou  born  an1  Baptist  will  yeou  die, 
But    why— baptize— yeour— hat— my    friend— in— Meth-o-dist    mince- 
pie?" 
Jest  then  the  door  was  opened  wide,  a  gentle  voice  said  "  Why!" 
1  stopped  mysong— I  wished  that  hat  wa'n't  daubed  with  that  mince-pie 

V. 
'Twas  parson's  wife!     She  cleaned  his  hat;   I  felt  most  streaked  small 
Tew  think  she  caught  me  fightin1  with  a  neighbor  come  tew  call. 
We  told  eour  story,  an' she  said :  "  There's  one  straight  road  tew  heaven , 
Dew  right  in  word,  an'  truth,  an'  dwd,  an'  yeou  will  all  he  given 
A  place  with  God,  no  matter  what  yeour  church  creeds  here  below, 
Per  sake  of  Him  whose  blood  was  shed,  tew  wash  yeour  sins  like  snow." 
Wal,  when  they'd  gone  1  thought  abeout  the  churches  all  areound, 
An'  reckoned  that  the  Methodist  was  surely  sale  an'  sound. 

VI. 
Episcopuls  they  'low  tew  much  fer  dancin'  an'  line  dress, 
An'  <  at  holies  they  give  their  priest  God's  place  when  they  confess. 
Say  what  yeou  will  'beout  punishment,  I  think  we  might  as  well 
Keep  with  us,  on  eour  earthward  way,  a  hullsum  fear  of  hell. 
Some  young  uns  dew  their  duty  from  a  sense  that  sin  is  wrong; 
An   others  need  the  rod  laid  on,  at  times  most  powerful  strong. 
Wal,  when  1  thought  the  matter  o'er  I  straightened  up  with  pride, 
An'  reckoned  that  the  Methodists  wuz  on  the  safest  side. 

VII. 
That  night  I  had  a  curus  dream.  I  tho't  my  race  wuz  run, 
An'  1  had  started  off  to  find  my  home  in  heaven  won. 
I  found  myself  in  a  great  hall  with  doors  all  on  one  side, 
An'  people  pourin'  in  'em  all ;   I  looked  an'  could  hev  cried. 
The  biggest  door  wuz  "'piscopul  "  with  winders  of  stained  glass, 
An'  oh'  the  creowde  of  dressy  folks  that  in  them  doors  did  pass! 
The  next  one  wuz  the  Baptist— an'  the  deacon  jest  went  in; 
Some  churches  hed   big  doors,  some  small;    1  thought  that  eours  must 
win — 

vii  r. 

When  all  at  once  I  felt  afraid,  the  doors  all  grew  so  small. 

'ih.  dear.''  I  cried,  "what  shall  I  do,  eour  door  ain't  here  at  all  I" 
When  in  the  farthest  corner  I  a  leetli    door  did  spy; 
J  erep  up  elua     t  was  Methodist ;  an'  then  1  hed  tew  cry. 


ORIGINAL   IlECITATIGNS  AND  LESSON-TALKS.       135 

I  pulled  the  bell,  the  door  was  oped,  an'  then  I  went  inside, 

An'  "  Hallelujah  tew  the  Lord:  salvation's  free!"  I  cried. 

Good  people  all,  ef  yeou  dew  right,  ne'er  be  afraid  of  doom; 

Yeour  creed  won't  save  yeou,  fer  them  doors  all  opened  in  one  room! 


LESSON-TALK. 

This  is  most  emphatically  a  character-selection,  and  demands  good 
characterization  in  its  rendering.  It  should  also  be  given  in  costume. 
A  plain  black  calico  skirt,  made  long  enough  in  the  back  to  allow 
fhe  wearer  to  stoop  considerably  forward,  may  be  slipped  over  the  or- 
dinary dress.  A  wide-bordered  cap.  an  old-fashioned  bonnet  and  shawl, 
black  gloves  and  bine  spectacles  are  also  necessary,  and  last,  but  not 
least,  a  good-sized  cotton  umbrella.  A  wig  maybe  dispensed  with  if 
the  cap  be  edged  with  a  wide  box-plaited  ruffle  made  double,  and  pulled 
well  over  the  forehead.  The  shawl  pinned  on,  the  bonnet  and  cap- 
strings  tied,  the  blue  glasses  adjusted,  and  you  are  ready  to  peep  in 
the  glass  and  have  your  friends  tell  you  that  "they  would  never  have 
known  you."  You  may  make  the  facial  change  more  complete  by 
drawing  the  upper  lip  down  and  over  and  under  the  teeth  in  such  a 
way  as  to  appear  actually  toothless.  Assume  a  cracked,  quavering, 
tremulous  voice,  and  keep  it  up  throughout  the  selection.  You  are 
now  ready  to  make  your  entrance,  leaning  heavily  upon  your  umbrella, 
and  Bhuffling  laboriously  along;  just  before  beginning  make  a  comical 
obeisance  to  your  audience.  The  success  of  this  selection  depends 
largely  upon  the  expression  with  which  the  words  are  rendered;  action- 
work  has  little  to  do  wit  h  it.  and  there  is  little  act  ion  work  to  do.  The 
cracked  tremor  of  the  aged  voice,  the  frequent  pausing  and  little  hesi- 
tations and  repetitions  of  words,  and  emphatic  nods  of  the  head,  are 
tlie  most  noticeable  elements  of  the  recitation. 

(1,  ','>  A  gesture  as  of  touching  one's  self  on  the  breast  may  be  made 
on  "I  was  Methodist,"  and  a  pause  introduced  before  and  after  it,  dur- 
ing which  you  bob  your  head  and  seem  to  shake  with  pride.  Bring 
down  the  umbrella  with  an  impressive  thump  as  you  say,  "old  Adam 
in  me  stirred."    a  little  self -satisfied  gesture  as  though  stroking  the  side 

Of  the  he;  11 1   with  t  he  left  ha  in  I  is  permissible  in  line  3,  second  stanza. 
(8)    Raise  the  hand  in  Btrong  disapproval  and   mock  astonishment  on 

the  words  "  heow  cups  and  sassers  rang."  Deliver  line  6  in  a  high,  spite 
ful  key,  and  bring  oui  the  last  line  vith  frequent  pauses  as  though 
convulsed  with  inward  laughter. 

(4)  This  pausing  accompanied  by  mirth  continues  throughout  lines 
1  and  2  of  this  stanza  The  well  known  air  of  "  Baptisl  Pie"  and  a  very 
crockeil  soprano  an-  used  while  singing  lines  •">  ami  6,  finishing  the  song 


136  EMMA   PUNNING  BANKS'S 

with  jerks  add  laughter,  culminating  in  a  dry,  convulsive  cackle  con*- 
sisting  of  a  series  of  "ha's,"  using  the  sound  of  short  a  as  in  t  he  word 
"hat."  Turn  to  the  left  as  though  leaving  while  singing  these  lines, 
and  look  back  mockingly  over  the  righl  shoulder. 

(5,  6)  A  very  humble  spirit  colors  the  utterance  of  lines  1  and  2, 
and  the  advice  given  by  the  minister's  wife  comes  out  slowly  and  dis- 
tinctly, not  forgetting,  however,  to  keep  up  the  cracked,  wavering 
voice.  The  action  throughout  tins  stanza  consists  chiefly  of  the  em 
phatic  bobbing  jerks  of  the  head,  aided,  perhaps,  by  occasional  slight 
.  onversational  movements  of  the  hand. 

i?>  In  This  stanza  the  gestures  become  more  decided  when  pointing 
out  the  doors.  On  the  words  "oh,  the  creowds  of  dressy  folks,"  lift 
hand  and  head  ama/.edly,  and  with  strong  disfavor  in  tone  and  action. 
In  a  very  quiet,  humiliated,  resigned  manner,  as  though  owning  some- 
thing sheepishly  and  against  the  will,  say,  "  an1  t  he  deacon  jest  went  in." 

(8)  When  delivering  line  '-\  there  are  almost  sobs  of  nervousness  and 
fear  in  the  voice.  ( live  line  li  in  good,  old-fashioned,  shouting  Methodist 
style,  and  finish  in  a  burst  of  the  same  exhortive  eloquence,  as  you 
hobble  off  the  platform. 


ABOU   BEN  ADHEM. 

ABOU   BEN   ADHEM  (may  his  tribe  increase!) 
Awoke  one  night  from  a  sweet  dream  of  peace, 

And  saw.  within  the  moonlight  in  his  room, 

Making  it  rich,  and  like  a  lily  in  bloom, 

An  angel  writing  in  a  book  of  gold. 

Bxeeeding  peace  had  made  Ben  Adhem  bold, 

And  to  the  presence  in  the  room  he  said. 
'What  writest  thou.'"     The  vision  raised  its  head 

And.  with  a  look  made  all  of  sweet  accord. 

Answered  :  "The  names  of  those  who  love  the  Lord." 
'And  is  mine  one?"  said  Abou.    "  Nay,  not  .so," 

Replied  tin-  angel.    Abou  spoke  more  low 

Hut  cheerily  still,  and  said  :  "  I  pray  thee,  then, 

Write  me  ;,-  one  tiiai  loves  his  fellow-men." 

The  angel  wrote  and  vanished.     The  next  night 
It  came  again,  with  a  great  wakening  light, 

And  Bhowed  the  names  whom  love  of  ( fod  had  hlessed- 

And  lol  Ben  Adhem's  name  led  ail  the  rest. 


ORIGIXAL   RECITATIONS  AND   LESSON-TALKS.       137 


THE  MOTHER'S  EASTER  SCARF. 
1. 

FALLING  from  the  antique  chair-back  till  its  length  trailed  o'er  the 
floor, 
Luring,  with  its  snowy  wavelets,  the  last  smiles  the  sunlight  bore 
Lay  the  altar  cloth  of  velvet,  all  empurpled  from  the  light 
si  reaming  through  the  stained-glass  windows,  where  the  glad  sun  shone 

so  bright. 
An  Easter  scarf  turned  Lenten  purple  in  that  magic  lighted  hall! 
Violet  in  the  high  lights  gleaming,  in  the  shadows  like  a  pall! 
Minting  of  barbaric  splendor,  golden  crosses,  laces  rare 
Peeped  from  out  the  careless  foldings,  while  a  sheaf  of  lilies  fair 

II. 

Spoke  a  silent  message,  telling  how  our  mother,  pure  in  thought, 
Sweet  and  holy  in  her  living,  had,  with  patient  fingers,  wrought 
All  the  stitches  of  the  lilies,  till  it  lay,  a  thing  most  rare, 
Perfect  in  artistic  beauty,  trailing  from  the  ebon  chair. 
Twins  were  we  who  bent  above  it.  twin  sons  of  a  grand  old  race; 
Stalwart-shouldered  like  our  father,  like  our  mother  fair  of  face. 
Kthelbert's  physique  was  perfect  ;  but— my  good  right  arm  was  lost; 
"Amputation,"  said  the  doctors,  "or  your  life  must  pay  the  cost.'" 

III. 
Brother  Bert  sobbed  likea  woman.    "Rex,  ORex!"  he  wildly  cried, 

"All  of  this  for  me  you  suffer;   better,  far.  that  I  had  died." 
Well.  I  cannot  say  I  flinched  much,  as  they  bared  me  for  the  knife; 
Thoughl  I,  "  I  have  saved  my  brother— arms  are  better  spared  than  life." 
God  be  thanked'  the  mad  dog's  fury  turned  on  me,  tori'  me  instead; 
This  was  why  my  brother  murmured,  "  better  far  that   I  was  dead." 
Ah.  my  noble.  Loving  brother!     How  he  strove  to  give  me  care; 
Took  my  burden  on  his  shoulders,  ever  took  the  lion's  share. 

IV. 
(  Mice  I  saiil  "  he  must  not  do  it  ;  one  arm's  left.  1  am  not  weak." 
"  It  consoles  him."  said  my  mother.  "  Id  him  help  you.  do  not  speak. " 
Ah.  thai  mother'    IIow  we  loved  her'    Ne'er  had  brothers  truer  friend ; 
Bo  our  glances  told  each  other,  a^  we  Lifted  either  end 
<  >i  the  snowy  Bcarf  of  velvet,  which  our  mother  bade  as  place 
Reverently  upon  the  altar,  saying,  with  hersofl  embrace: 
1    •  rj  stitch  1  wrought,  my  dear  ones,  ineanl  e  prayer  for  each  brave 

-on 

Prayers  for  safety,  prayers  for  honor,  through  Life's  battles  yel  unwon. 


I  3S  EMMA  DUNNING  BANKS'S 

V. 
•  Every  stitch  I  prayed,  'God  love  them,  keep  them  ever'neath  Thine 
eye; 

May  tlic  love  they  bear  each  other  strengthen  daily  till  they  die. 

May  thej  "ii  each  Master  "ning  think  with  tender,  loving  care, 

( >f  the  lenten  cloth  whose  lilies  fastened  each  a  mother's  prayer.1 " 
Deep  within  our  young  hearts  pinging,  fell  these  wordsol'  love  and  truth  ; 
Vowed  we  then  to  hold  them  sacred,  in  those  long-past  days  of  youth. 
Sacredly  we  kept  our  vowings,  through  the  years  that  swift  went  by; 
"»  ears  of  sunshine  ami  of  laughter,  till  we  said  our  last  good-by 

VI. 
To  our  gentle,  high-bred  mother,  kissed  her  pale,  death-stricken  face; 
Heard  her  murmur .  "  hove  each  other;  guard  the  honor  of  your  race" 
I  >f  the  priest  we  begged  this  favor,  while  our  young  hearts  throbbed 

with  pain, 
Pleaded  that  the  altar  scarflet  back  to  us  he  ^iven  a^ain. 
Reverently  our  hands  received  it,  reverently  we  laid  it  down 
(  >n  the  pillows  of  the  casket,  draped  its  soft  folds  next  her  gown, 
( 'urved  her  taper  fingers  gently  on  the  lilies  'hroidered  there ; 
Thrilled  our  hearts  as  we  remembered, "each  one  fastens  down  a  prayer." 

VII. 
Governed  by  the  self-same  impulse,  silently  we  bent  the  knee, 
Prayed  with  silence,  and  with  silence  rose  and  parted  silently. 
****** 

KatiiH  —  what  a  name  to  give  her — sailed  to  us,  the  letter  said, 
From  a  far-off  eastern  country,  like  a  message  from  the  dead. 
Daughter  of  our  fat  her's  school-mate,  dying  he  besought  our  care; 
Craving  that  his  eastern  floweret  "might  bloom  forth  in  English  air." 
Bloom  I    My  startled  senses  met  her,  as  one  greets  the  rose's  breath, 
When  from  out  aii  Iceland  winter  one  has  just  escaped  from  death. 

VIII. 
Ethelberi  was  far  in  Egypt  when  she  came  beneath  our  roof; 
1   wafi  all  alone  to  <.rreet  her,  .Hid  my  welcome  ample  proof 

Yielded  her  of  Saxon  kindness;  promised  her  a  brother's  care. 

Daj   by  day  her  beauty  won  me;  each  new  dawn  found  her  more  fair, 

lurked  in  cheeks  and  dimples,  woven  sunbeams  in  her  hair; 
Reeled  my  soul,  my  heart,  my  senses,  all  entangled  in  love's  snare. 
Air  whene'er  her  eyes' brown  splendor  held  my  own  they  thrilled  me 

through, 
Poor,  weak  fool  I  I  thought  she  loved  me  with  a  woman's  [ovemost  true. 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       139 

IX. 

Well,  it  may  be  that  she  did  so,  may  be  thought  she  loved  me  then; 
God  forgive  these  fickle  women  for  the  harm  they  do  to  men ! 
Etnelbert  returned  from  Egypt.     When  he  first  enclasped  her  hand, 
(ia**.  1  upon  her  star-like  beauty,  Destiny  then  waved  her  wand. 
LiKe  two  fir  trees  locked  together  by  some  cyclone  of  the  wind, 
Eyes  co  eyes  flashed  forth  a  message,  heart  to  heart  was  swift  inclined. 
And   Jthough  they  tried  and  struggled  loyally  to  keep  apart, 
1  >estiuy  had  chanted  "  kismet;'1  each  had  won  the  other's  heart. 

X. 

Just  before  the  Easter  dawning,  on  a  couch  I  laid  to  rest, 
Nursing  bitter  thoughts  of  Fatine  and  Ethel bert  in  my  breast. 
Wnen  a  faint,  sweet  eastern  perfume,  used  by  Fatine — her  alone — 
Wafted  o'er  me;  then  some  words  came,  words  which  turned  my  heart 

to  stone; 
Up  I  sprang,  stole  close,  then  listened,  listened  while  I  held  my  breath. 
How  her  rippling  laughter  tingled  through  my  aching  heart  like  death! 
"  Wed  him?  Love  him?  No,  Ethelbert,  he  has  lost  his  good  right  arm; 
Should  his  bride  need  strong  protection,  he  could  ne'er  defend  from 

harm." 

XI. 
Maddened  by  his  sneering  answer,  quick  I  sprang  upon  his  breast. 
"Ha'  take  that!  and  that!  you  coward!  die  a  traitor  unconfessed! " 
Once  and  twice  and  thrice  1  stabbed  him;  ere  I  left  him  knew  him  dead; 
Then  1  turned  to  face  the  temptress;  she  bad  seized  her  time  and  fled. 
What  a  horror  froze  within  me  as  I  marked  my  brother's  face 
Softened  to  our  mother's  semblance,  in  her  coffin's  sad  embrace. 
I  >nce  again  I  heard  her  prayer.  "  Keep  them  ever  'neath  Thine  eye, 
May  the  love  they  hear  each  other  strengthen  daily  till  they  die." 

XII. 
Sinking  on  my  knees  inside  him,  "  Brother,"  moaned  I,  in  remorse, 
"  I  will  send  my  soid  to  find  thee,  die  beside  thy  murdered  corse." 
Raising  high  once  more  the  dagger,  quick  I  fell  a  grasp,  a  shake; 
Then  a  voice  cried,  "  Wake,  old  fellow!    rouse  up,  Rex!    wake,  brother, 
wake'  '" 

Waking  from  that  curse  of  nightmare,  with  a  shuddering,  joyful  start, 
I  beheld  my  twin,  my  brother,  clasped  him  closely  to  my  heart. 
Tell  1  ne  true."'  I  cried  to  Pal  Ine,  "do  you  love  him?"  She  said,  "  yes." 
"Speak,  my  brother? Fhough  it  pains  you,  Rex,  the  same  I  must 

confess.'- 


I40  EMMA   DUNNING  BANKS'S 

XT1T. 
Like  the  perfumed  breath  of  lilies,  a  Bweet  ponce  upon  me  stole, 
As  we  heard  in  the  far  distance,  the  glad  Easter  joy  bells  toll. 
Tolling,  tolling,  rolling,  rolling,  waves  of  calm  throughout  my  soul-, 
Tolling,  rolling,  tolling,  rolling,  till  1  felt  my  heart  made  whole. 
Then  1  cried:    "That  dream  I  translate  as  a  warning  from  above; 
Brother,  you  can  never  pain  me!  Sister,  1  am  glad  you  love.1' 
Through  the  bells  our  mother's  last  words,  given  with  her  last  embrace, 
Floated,  mingled:  "Love  each  other;  guard  the  honor  of  your  race." 


LESSON:TALK. 

(1)  A  slight  descending  gesture  during  the  latter  half  of  line  1  will 
be  followed  by  an  ascending  gesture  in  the  next  line,  suggesting  a  wave 
to  designate  an  arch  <>n  the  appropriate  word  in  line  '■'>.  During  the 
1 1 « •  x  t  four  lines  slightly  waving  and  descending  movements  of  the  hand, 

explanatory  of  the  appearance  of  the  scarf  lying  upon  the  floor,  will 
Suggest  themselves. 

Pew  gestures  are  permissible  in  this  stanza;  repose  will  speak  a 
better  language.  Pride  of  birth  and  lineage  gives  coloring  to  lines  5 
and  6,  broken  by  a  dash  of  strongly  repressed  feeling  after  "  but,1'  in 
line  7.  This  is  covered  by  the  slight  attempt  at  personification  while 
uttering  the  doctor's  speech. 

(3)  <  'onsiderable  feeling  is  allowed  to  enter  into  lines  1  and  2,  followed 
by  a  sort  of  dry  self-confol  during  the  next  three  lines.  Deep  emotion 
characterizes  the  remainder  of  the  stanza. 

(4.  5)  A  gesture  with  the  right  arm,  clinching  the  fist  and  allowing 
The  arm  to  come  forward  with  strength  during  line  1.  A  soothing  tone 
of  voice,  with  deprecatory  movements  of  the  hand,  will  enter  appro- 
priately into  line  -'.  Use  a  double  gesture,  if  you  choose,  to  designate 
the  lifting  of  the  altar  scarf ,  and  an  oblique  left-hand  movement  when 
locating  the  direction  of  the  altar.  The  mother's  speech,  running 
from  the  closing  lines  of  tin'  fourth  stanza  through  the  first  half  of  the 
fifth  stanza,  must  be  given  with  an  earnest,  prayerful  tenderness, 
thrilling  and  vibrating  through  the  voice.     Use  backward  gesture  on 

the  words  '•  years  that  swift  went  by." 

(6)  (Jive  an  imploring  gesture  by  reaching  the  hands  forward,  then 
touching  with  both  hands  the  breast  on  the  word  "us,"  in  line  4.  A 
double  supine  front  gesture  on  the  words"hands  received  it,"  merges 
into  a  descending  prone  movement  on  I  he  words"  laid  it  down."  Finish 
a-  though  standing  over  a  casket. 

Make  a  decided  pause  after  finishing  line  2  and  beginning  line  :;. 
A  gesture  of  location  is  permissible  on  the  words  "  eastern  country." 


ORIGINAL  RECITATIONS  AND   LESSON-TALKS.       141 

The  hands  come  swiftly  together  and  as  swiftly  part,  to  give  intensity 
to  the  word  "  bloom,"  beginning  line  7. 

(8,  9)  Here,  also,  a  gesture  of  location  may  be  employed  on  the  words 
"  far  in  Egypt."  An  ascending  gesture  for  the  words  "  each  new  dawn," 
iu  line  4.  This  stanza  and  the  next  also  depend  on  strongly-marked 
facial  expression  and  the  delivering  of  the  words  with  feeling  and  in- 
tensity. In  line  4,  ninth  stanza,  a  proud,  dominant  gesture  as  of  destiny 
issuing  her  decree,  may  be  followed  by  a  swift  locking  of  the  arms,  and 
an  impetuous  tearing  apart,  in  order  to  wave  them  illustrating  the 
cyclone,  maybe  used;  but  I  should  advise  no  gesture  whatever,  and 
should  finish  the  stanza  without  action-work. 

(10)  In  line  4  is  a  startled  movement,  resting  the  hand  nervously  on 
the  heart,  to  denote  nervous  excitement.  The  attitude  becomes  vehe- 
ment, vitalized,  excited,  on  the  words  "up  I  sprang."  A  stealthy 
movement  to  the  right  on  the  words  "  stole  close,"  then  a  listening  pose 
during  the  remainder  of  the  line,  hand  on  the  heart  while  saying  "  held 
my  breath."  Intensity  of  agonized  facial  expression  during  line  0 ;  then 
comes  the  scornful,  stinging  speech  of  Fatine. 

(11)  Down  an  imaginary  foe  to  the  left  in  line  1.  The  "ha"  should 
ring  out  with  maniacal  vengefulness,  and  be  prolonged;  while  the  right 
hand,  raised  high  in  air,  comes  down  with  a  stabbing  blow;  then  comes 
another  and  yet  another,  on  the  words  that  follow.  A  fiendish,  exultant 
spirit  colors  line  2.  A  gesture  may  be  employed  to  denote  the  flight  of 
the  woman;  then  an  entire  change  to  horrified  remorse  succeeds,  on 
turning  to  look  down  again  upon  the  face  of  the  victim. 

(12)  Lean  over,  looking  downward,  while  moaning  out  the  speech  in 
lines  1  and  2.  Employ  a  very  hearty  voice  for  the  personification  in 
line  4.  Let  Rex  speak  to  the  right,  while  Ethelbert  and  Fatine  speak 
to  the  left,  daring  lines  7  and  8. 

(13)  The  effusive  voice  predominates  in  this  stanza.  Suggest  bell- 
tones  in  lines :;  and  l,  and  while  not  making  the  last  strongly  like  bell 
tones,  prolong  it  and  let  it  llo.it  upon  the  air  in  a  serene  manner: 


OFF  FOR  SLUMBHR-LAND. 

PURPLE  waves  of  evening  play  upon  the  western  shores  of  day, 
While  babies  sail,  so  safe  and  tree,  over  t  he  mystic  slumber  sea. 
Their  little  boats  are  cradles  light;  the  sails  are  curtains,  pure  and  whit* 
The  rudders  are  Bweel  lullabies,  the  anchors,  soft  ami  sleepy  sighs. 
They're  outward  bound  for  slumber-land  where  shining  dreams  lie  on 

the  Band, 
Like  whisp'ring  shells  thai  murmur  low,  the  pretty  fancies  babies  know, 
A  in  1  t  here,  among  those  dream  Bhella  bright,  the  little  ones  will  play  all 

night, 
Until  the  sleepy  tide  turns;  then,  they'll  all  come  sailing  home  again. 


142 


EMMA    DUNNING  BANKS'S 


MONEY   MUSK. 


AH!  the  buxom  girls  thai  helped  the  boys — 
The  nobler  Helens  of  humbler  Troys — 
As  they  stripped  the  husks  with  rustling  fold 
From  eight-rowed  corn  as  yellow  as  gold, 
By  the  candle-light  in  pumpkin  howls. 
And  the  gleams  that  showed  fantastic  holes 
In  the  quaint  old  lantern's  tattooed  tin, 
From  the  hermit  gleam  set  up  within. 

II. 
By  the  rare,  rare  light  in  girlis)  eyes, 
A>  dark  as  wells  or  as  blue  as  skies; 
1  hear  the  laugh  when  the  ear  is  red, 
I  see  the  blush  when  the  forfeit's  paid; 
The  cedar  cakes  with  the  ancient  l  wist. 
The  cider  cup  that  the  girls  have  kissed. 
And  I  see  the  fiddler  through  the  dusk, 
As  he  twangs  the  ghost  of  "  Money  Musk." 

III. 

The  hoys  and  girls,  in  a  double  row, 
Wait  face  to  face  till  the  magic  how 
Shall  whip  the  tune  from  the  violin, 
And  the  merry  pulse  of  the  dance  hegin. 

I'll  in;  . 

[Play  first  strain  once.] 
jtLlEOREITO. 


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ORIGINAL   RECITATIONS  AND   LESSON-TALKS.       143 

In  shirr  of  check,  and  tallowed  hair, 
The  fiddler  sits  in  the  bulrush  chair 
Like  Muses'  basket  stranded  there 

On  the  brink  of  Father  Nile. 

IV. 

[Repeat  first  strain.] 
He  feels  the  fiddle's  slender  neck, 
Picks  out  the  notes  with  thrum  and  check, 
And  times  the  tune  with  nod  and  beck, 
And  thinks  it  a  weary  while. 

[Play  second  strain.] 

"All  ready!"    Now  he  gives  the  call, 
Cries.  "Honor  to  the  ladies  all /" 
The  jolly  tides  of  laughter  fall 

And  ebb  in  a  happy  smile. 

V. 

[Repeat  second  strain.] 
D-o-w-n  comes  the  bow  on  every  string, 
"First  couph  join  right  hands  and  swing /" 
A-  light  as  any  bluebird's  wing 

"  Swing  own  a  ad  a  half  times  round!" 

[Play  first  strain.] 
Whirls  Mary  Martin,  all  in  blue— 
( 'alien  gown  and  stockings  new. 
And  tinted  eyes  that  tell  you  true. 

Dance  all  to  the  dancing  sound. 

VI. 
[Repeat  first  strain.] 
She  flits  ;il,(.tit   big  .Moses  Hrown. 
Who  holds  her  hands  t<>  keep  her  down, 
And  thinks  her  hair  a  golden  crown. 

And  his  heart  turns  over  once. 

I  Play  second  Rtrain.  1 
Hischeeb  with  Mary's  breath  is  wet, 
It  gives  a  second  somerset ' 
He  means  to  win  the  maiden  > at, 

Ala-'    for  the  awkward  dunce! 


144  EMMA  DUNNING  BANKS'S 

VII. 

[Repent  second  strain.] 

"Yourstoga  boot  has  crushed  my  toel 
I'd  rather  dance  with  one-legged  Joe, 

You  clumsy  fellow !  "     "Pass  hi  loir!  " 

And  the  first  pair  dance  apart. 

[Play  firststrain.] 

Then  " Forward  six .'"  advance,  retreat, 
Like  midges  gay  in  sunbeam  street; 
'Tis  Money  Musk  by  merry  feet 

And  Money  Musk  by  heart! 

VIII. 

[Repeat  firststrain.] 

"Three  quarters  round  your  partner  .swing ! 
Across  the  set!'"    The  rafters  ring, 
The  girls  ami  boys  have  taken  wing, 

And  have  brought  their  roses  out  1 

[Play  seconil  strain.] 

'Tis  "Forward  six  !  "    With  rustic  grace, 
Ah!  rarer  far  than-^-'*.S'//v'////  to  ///ace /" 
Than  golden  clouds  of  old  point  lace, 

They  bring  the  dance  about. 

IX. 

[Repeat  second  strain.] 
Then  clasping  hands  all — "Right  and  left!'''' 
All  swiftly  weave  the  measure  deft 
Acn>s>  the  woof  in  Loving  welt. 

And  the  Money  Musk  is  done! 

Bknjamix  F.  Taylor. 


LESSON-TALK. 

(1)  Begin  with  a  brisk  conversational  movement.  A  gesture  as  of 
rapidly  busking  an  imaginary  ear  Of  corn  will  enter  appropriately  as 
action-work  in  line  :;.      No  gestures  necessary  for  rest  of  stanza. 

(2)  On  the  words  "dark  as  wells."  make  a  descending  prone  gesture 
With  the  right  hand,  merging  into  one  in  the  ascendant  on  the  words 
"blue  as  skies  "  Incline  the  luad  with  right  ear  obliquely  to  the  right 
as  though  listening,  and  poise  the  right  hand  in  air  in  such  a  manner 
as  to  convey  that  idea,  as  you  say  "  I   hear  the  laugb   when  the  ear  is 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.        145 

red."  Turn  the  head  swiftly,  and  shade  the  eyes  with  the  hand,  as  you 
say  "  I  see  the  blush  when  the,"  then  make  a  brief  pause  and,  using  the 
fingers  of  the  right  hand  to  lightly  waft  a  kiss,  say  "  forfeit's  paid  "  A 
little  twisting  gesture  is  suggested  in  line  5.  Lean  forward  with  ani- 
mation as  you  point  out  "  the  fiddler  through  the  dusk."  Bring  out 
the  word  "  twangs"  with  the  peculiar  sound  descriptive  of  its  meaning. 

(3)  Again  lean  forward,  and  with  enthusiastic  zeal  point  out  and 
describe  the  pretty  picture  of  "the  boys  and  girls  in  a  double  row." 
As  you  say  "whip  the  tune"  make  a  gesture  as  of  drawing  the  bow 
down  the  strings  of  an  imaginary  violin,  and  make  the  word  "  whip  " 
bright  and  picturesque.  Now  comes  the  intoning  to  the  music  of 
Money  Musk,  and  for  particular  directions  regarding  such  work  the 
reader  is  referred  to  the  Lesson-Talks  on  "  Two  Thanksgiving  Dances" 
and  "  The  Soldier's  Joy,"  on  pages  107  and  72.  It  will  suffice  to  repeat 
That  you  must  patiently  and  carefully  fit  the  words  and  syllables  of 
words  to  the  music,  keeping  the  voice  down,  as  it  is  not  desired  that 
you  sing,  but  that  you  intone.  With  the  forward  right  foot,  beat  the 
time  to  words  and  music,  as  you  point  out  and  describe  the  fiddler. 
For  these  gestures  use  the  right  hand. 

(4)  Left  hand  and  arm  are  here  outstretched  to  hold  the  violin,  while 
the  fingers  suit  the  action  to  the  word  as  you  say,  "  He  feels  the  fiddle's 

slender  1 k."     Let  the  head  nod  in  sympathy  as  he  "times  the  tune," 

and  "  thinks  it  a  weary  while."  The  first  strain  of  music  is  played  twice 
while  intoning  the  above.  Call  out  "all  ready"  in  stentorian  tones,  as 
the  fiddler  jrives  the  call.  Make  the  prompter's  shout  of  "honor  to  the 
ladies  all"  very  heavy,  and  accompany  it  with  the  gesture  of  drawing 
the  bow  1 1 1 »  and  down  the  strings.  Pick  up  the  skirts  daintily,  and  in- 
troduce litt  le  dancing  -steps  as  you  intone  the  rest  of  this  stanza,  keep- 
ing your  eyes  upon  the  dancers  and  seeming  to  dance  in  sympathy 
witli  them. 

(5)  Shout  the  calls  in  masculine  tones,  and  make  gesture  of  holding 
the  fiddle  and  drawing  the  how.  Hetween  the  calls  point  out  "Mary 
Martin"  where  she  whirls  "as  light  as  any  bluebird's  wing."  Whirl 
around  and  dance  as  you  describe  the  coquettish  young  girl.  Tins 
action  work  may  be  made  very  pretty. 

(8)  Heat  time  with  right  foot  as  you  point  out  and  describe  the 
maiden  flitting  "  about  big  Moses  Brown."  A  swift,  light  gesturewill 
give  significance  to  the  words  "golden  crown."  With  the  left  hand 
near  the  heart  make  fluttering  movement,  as  you  say  *'  his  heart  turns 
over  once."  Now  you  are  rested  you  may  introduce  dancing  move 
ments  again.  The  heart  gesture  may  be  varied  by  tapping  the  left 
hand  lightly  with  the  right,  as  you  laughingly  say  "  it  turns  a  second 
somerset ' " 

10 


146  EMMA    DUNNING   BANKS'S 

(7)  While  dancing  back  and  forth,  let  Mary's  speech  come  out  above 
tin-  music  In  a  shrill  high  falsetto,  very  much  vexed  in  tone.  Shaking 
the  head  angrily,  put  strong  emphasis  on  the  words  "you  clumsy  fel- 
low," then  using  the  fiddle  and  bow,  interrupt  with  the  heavy  call 
"  pass  below."  Dwell  on  this  call,  and  should  your  accompanist  fail  to 
do  so.  instruct  him  to  hold  the  corresponding  note  accordingly.  These 
notes  are  to  be  found  in  the  second  strain,  seventh  measure,  and  are  re- 
spectively I),  (f,  and  P  sharp;  ahold  should  be  made  on  the  F  sharp. 
Repeat  call  and  gesture  on  the  words  "forward  six;"  then  dance  for- 
ward and  back  and  courtesy  as  you  finish  the  stanza, 

(8)  Deliver  this  call  in  a  voice  to  "make  the  rafters  ring."  Eight  here 
it  may  be  well  to  say  that  an  opposition  of  the  head  and  arm  appears 
well,  and  seems  to  help  out  the  spirit  of  abandon  when  drawing  the 
bow  over  the  strings.  As  the  hand  comes  up  the  head  inclines  toward 
it.  moving  slightly  down,  and  as  the  hand  comes  down  the  head  goes 
up  again.  Heat  time  with  the  right  foot,  but  do  not  dance  while  de- 
scribing the  dancers.  Between  the  calls  dancing-movements  are  intro- 
duced. Graceful  floating  movements  of  the  hands  and  arms  will  de 
scribe  "  golden  clouds  of  old  point-lace." 

(it)  Always  remember  to  accompany  the  shouting  call  of  the  prompter 
with  the  necessary  gesture  to  represent  his  work,  (jiving  first  right 
hand,  then  left,  simulate  the  grand  right  and  left,  if  you  wish,  and 
close  with  a  low,  sweeping  courtesy  on  the  words  "  the  Money  Musk  is 
done ! " 


MEMORIAL  DAY   AT  THE   FARM. 
i. 

THAT  year  the  apple-blooms  came  late,  late  in  the  month  of  May; 
While  fleecy  clouds  skimmed  o'er  the  blue,  thai  Decoration  Day. 
A  tropic  sun  shone  in  the  sky,  and  warmed  the  May  month's  air; 
Sweet  Bang  the  birds;  soft   breezes  blew;   Memorial  Day  was  fair' 

II. 
When  War  her  giant  wings  shook  out,  and  wakened  all  our  fears, 
Bome  quiet  farm-folks  in  Vermont  a  brave  son  gave  with  tears. 
Sister  arid  sweetheart,  mother,  sire,  he  bade  them  all  good  by ; 
All  "boyish"  sobs  the  nmn  choked  down,  brushed  tear-drops  from  his 
eye. 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.       147 

III. 

He  fought  all  down,  sprang  on  his  horse,  then  faltered  :  "  If  I'm  killed— 
(There,  mother,  don't— now— do  not  cry)  'twill  be  as  God  has  willed. 
But,  if  among  the  war's  sad  news  you  do  hear  that  I'm  dead, 
Please  bring  me  home,  and  bury  me,  and  lay  me  so  my  head 

IV. 
"  Will  rest  beneath  the  old  elm  tree  down  by  the  meadow  brook. 
Good-by,  once  more."     Then  off  he  dashed  without  one  parting  look. 
He  fled  from  sight  of  weeping  friends,  from  hearts  that  held  him  dear; 
But  ne'er  from  battle's  challenge  flinched— his  brave  soul  knew  no  fear. 

V. 

Where  rolled  the  war-cloud's  densest  smoke,  where  loudest  pealed  the 

gun, 
Where  comrades  brave,  on  every  side,  were  falling  one  by  one, — 
There  ever  dashed  our  soldier  boy.     Full  oft  his  brave,  bright  cheer 
Rang  out,  and  courage  lent  to  souls  bowed  'neath  the  sway  of  fear. 

VI. 
Once  when  their  color-bearer  fell  our  flag  he  snatched  on  high; 
In  clarion  tones  his  young  voice  rang,  pealed  forth  in  one  brave  cry: 
"Cornel  Rally,  boys,  for  victory!  we'll  win  this  field  or  die!" 
That  gallant  charge  was  won,  that  day.     But,  when  the  southern  sky 

VII. 
Was  all  ashine  with  twinkling  stars,  the  southern  moon's  sad  face 

Real I  pityingly  upon  our  boy,  fast  wrapped  in  death's  embrace. 

His  grave  was  made  upon  the  farm,  beneath  the  old  elm  tree, 
Where,  on  thai  lair  Memorial  Day,  his  mother  bent  her  knee 

VIII. 
And  thought         He  lies  so  far  away,  his  resting-place  unknown, 
No  comrades  brave  will  seek  him  here;  Ids  grave  will  ne'er  be  strewn 
With  blooms  from  loyal  soldier  hands,  that  knew  him  in  the  light." 
A  drum's  low  beat   fell  OB  her  ear,  across  her  startled  sight 

IX. 
A  vision  came  of  marching  men,  Grand  Army  boys  a  score; 

A  floral  flag,  a  cross,  ;<  crown,  with  their  bouquets  they  bore. 
Their  beauteous  tributes  the)  laid  down  upon  thai  lone  grave's  sod; 
Mad.-  bare  their  beads,  then  reverently  and  humbly  prayed  to  God, 


148  EMMA    DUNNING  BANKS'S 


Though  since  that  day  long  years  have  flown,  have  swiftly  rolled  away, 
Grand  Army  DOVS  march  to  that  farm  on  each  Memorial  Day. 
They  scatter  floral  tributes  down,  with  loving  hands  and  free, 

Upon  that  hero's  lonely  grave  beneath  the  old  elm  tree. 


LESSON-TALK. 

(1)  Simple  description,  as  regards  style,  prevails  through  this  stanza. 
The  voice  used  is  effusive  in  the  lingering  element  employed.  <  )n  lines 
2  and  :!  ascending  gestures  with  the  righl  hand  are  allowable. 

(2)  A  Btronger  tone  characterizes  and  strengthens  line  1.  A  gesture 
of  location  with  left  hand  indicates  the  direction  of  Vermont  in  line  2; 
the  voice  is  more  subdued,  in  sympathy  with  the  sentiment.  Strong 
emphasis  is  needed  on  the  word  "  man  "  in  line  4. 

<::.  4 1  Make  the  word  "all"  very  emphatic;  give  a  little  upward  flint,' 
of  the  right  hand  on  "sprang."  Then  make  downward  gestures  Of  de- 
precation as  if  talking  to  some  one  much  shorter  than  yourself,  during 
line  2.  Deliver  the  remainder  of  the  stanzas  with  feeling.  A  forward 
gesture  may  be  made  on  "off  he  dashed,"  as  though  watching  some  one 
ride  off  into  the  distance. 

(5)  An  upward,  spiral,  floating  movement  with  right  hand  will  be 
found  effective  in  picturing  "the  war-cloud's  densest  smoke."  Let  the 
voice  ring  out  with  patriotic  fire  when  rendering  the  last  half  of  line  1. 
Alternate  side  gestures  will  describe  the  excitement  of  line  2,  and  let 
the  enthusiasm  continue  to  vibrate  through  the  voice  to  the  end  of  the 
stanza. 

6)  The  dash  and  spirited  ring  still  color  the  tone.  The  call  in  line 
"  must  peal  out.  An  upward  gesture  on  "southern  sky"  will  finish  the 
action-work  of  the  stanza 

(7)  The  ascending  movement  IS  continued  from  the  last  stanza  into 
this.  The  head  and  hand  descend  to  depict  the  dead  soldier,  lying  be- 
neath Tli.-  pate  rays  of  the  moon,  upon  the  battle-field.  The  simple, 
narrative  manner  marks  the  close  of  the  stanza. 

-  liifiiM'  all  the  tender  pity  of  a  mother's  love  into  the  words  of  the 
mother  at  the  grave  of  her  son.  More  dramatic  intensity  creeps  into 
the  last  two  lines. 

Pride  is  noted  in  line  1,  pride  of  our  Grand  Army.    The  remainder 
of  the  stanza  i>  given  with  quiet  depth  of  feeding, 

(10  A  backward  gesture  is  suggested  by  line  1,  and  the  remainder 
of  tie-  selection  is  finished  naturally  and  without  action-work. 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.       149 


FLIBBERTYGIBBET  AND   ME. 
1. 

MOUNT  Flibbertygibbet?  Of  course,  Ben;  don't  I  know  horse 
and  tricks  full  well? 
Nervous'?  Well — yes— a  mere  trille,  when  I  think  how  my  husband  fell 
Here  in  this  self-same  old  ring,  Ben,  and  a  little  one  ten  days  old 
( Jryingat  home  for  his  mother.  But— there — everything's  pawned  or  sold. 
Waiting  meant  starving  together,  whileiny  Jack,  poor  boy,  kept  his  bed, 
Fell  in  this  ring — broke  his  leg,  Ben ;  so — give  the  old  horse  his  head. 

II. 

Wh-e-w!  old  Kentuck's  tricksy  wind  courses  still  in  your  veins,  my  Flip, 
Thrilling  me  now.  as  it  thrilled  me  then,  'neath  my  pulsing  bareback 

trip. 
No,  no.  old  horse,  I've  forgotten  not  the  gold  earned  in  auld  lang  syne; 
Listen,  my  Flip,  we  must  win  some  more,  for  precious  baby  mine. 
Whoop-la!     Ben,  have  they  put  up  the  bars?   I  am  ready  now!  don't 

you  see? 
Whoop-la'  higher;   whoop-la!  higher,  higher  still,  for  Flibbertygibbet 

and  me. 

III. 
Nay,  no  white  feather  for  me,  old  friend,  come,  mount,  and  we'll  try  the 

ring; 
Xbu — you  and  I  together,  Ben,  in  our  old-time  dare-devil  fling. 
Ha  '  ha!  why  so  tragic  the  glances  you  cast  upon  me? 
Pear  you  the  green-eyed  monster  will  rouse  my  poor  Jack  to  see? 
No?  there    you're  really  quaking,  Ben.  for  "  fearless  mountain  Joe," 
Who  left  her  home  in  the  old  blue  grass  to  follow  Jack  and  the  show. 

IV. 
All  untrained  to  the  business,  Ben.  I  got  in  on  my  western  grit; 

Crowds  Booked  to  see  my  bareback  rides,  sans  either  bridle  or  bit. 

Ha!  did  I  squirm  jusl  m  little  over  that  time-worn  jump? 

Whoa    Bteady,  Flip    oui  of  practice,  Ben;  s'posin1  I  do  gel  ;i  dump  I 

Mountain  -'oe  knows  how  to  tumble;  away,  with  a  one.  two,  three! 

This  lime,  you  shall  see  no  falter  in  Plibbertygibbei  and  me. 

V. 

A  a  h!    Why.  Ben,  as  they  say  In  Kentuck,  reckon  we've  had  a  spill. 
Bravely  you  caught  me,  old  comrade    speak,  Ben,  <  Ion' t  lie  there  so  still. 


^o  EMMA    DUNNING  BANKS'S 

Who'd  ';«'  thought  my  la-ad  would  turn  traitor!    s'pose  I'm  not  any  too 

strong! 
Ben,  Ben,  o  Ben,  why  don't  you  answer;  why  do  you  lie  there  so  long ! 
You  are  hurt,   then?  a  blow  from  your  mustang?    Ay,  a  blow  that 

should  have  been  mine ; 
Hut.  you  flung  yourself  down  here  to  save  me,  with  a  courage  almost 

divine. 

VI. 
You're  dying  1  you  must  speak!  you  love  me!  don't  talk;  take  a  pull  at 

this  Mask. 
No,  no,  do  not  speak!   do  not  tell  me;   for  Jack's  sake  please  keep  up 

the  mask. 
Or  he'll  hate  you  in  mad,  jealous  frenzy   you  his  tried,  true,  and  most 

loyal  friend. 
Who  gave  up  to  him  though  you  loved  me;   brace  up,  Ben,  this  isn't 

the  end! 
Jack  must  thank  you  for  saving  his  wife,  Ben — why,  Ben,  look  up,  Ben! 

can't  you  see? 
A-a-hl     He's  dead!    Ben  has  ridden  his  last  round  with  Flibbertygib- 

bet  and  me. 

—Mat  R.  Mackenzie. 


LESSON-TALK. 

This  is  an  episode  of  the  circus  ring,  and  during  the  second,  third, 
and  fourth  stanzas  some  bright,  swinging  strains  of  music,  such  as  are 
commonly  heard  in  the  circus  while  the  riders  are  going  around  the 
course,  could  he  introduced  with  happy  effect. 

(1)  Conversational  gestures  of  emphasis  and  location  are  to  be  used 
in  this  stanza,  a  little  nervous  shrug  of  the  shoulders  and  half  turning 
away  in  line  2.  Point  out  the  circus  ring  in  line  3.  With  the  hesita- 
tion employed  in  the  last  half  of  this  line,  let  a  touch  of  pathos  creep 
into  the  voice  when  speaking  of  the  "little  one."  In  the  pauses  repre- 
sented by  the  dashes  in  hue  |  make  a  gesture  as  though  brushing  away 
tears  and  choking  down  emotion.  To  close  the  stanza,  give  a  slight 
sprim.'  'not  lifting  tin-  feet  from  the  floor,  however)  after  the  word  "  so," 
and  raise  the  right  hand  as  you  endeavor  to  represent  the  circus  rider's 
spring  upon  her  horse. 

Now.  if  you  have  no  music  imagine  it.  and  let  your  action-work 

adapt  and   time  it-elf  to  the  merry  strains.      You  know  how  the  rider 

her  bands  and  arm-  to  balance  herself,  and  how  her  feet  will  move 

ceaselessly  to  and  fro  upon  the  hare  back  of  the  horse.     You  must  not 


ORIGINAL    RECITATIONS  AXD   LESSON-TALKS.        151 

endeavor  to  do  all  she  does,  however  j  merely  to  suggest  it.  This  stanza 
is  full  of  a  certain  wild,  breezy  sort  of  dash,  and  one  who  likes  a  spirited 
selection  will  enjoy  studying  and  working  it  up.  Practice  before  a 
mirror.  The  only  way  you  can  convey  an  impression  of  the  horse  run- 
ning around  the  circus  ring  is  by  a  subtle  pivoting  and  swaying  of  the 
torso  at  the  waist-line,  letting  the  hands  and  arms  move  in  floating, 
curving  gestures  from  right  to  left,  then  back  again,  as  the  waist,  knees, 
and  whole  torso  sympathize  in  the  pivoting,  circling  movement  before 
alluded  to.  Imagine  the  girl  upon  the  horse's  back,  the  right  foot  for- 
ward,  and  moving  ever  so  little  to  and  fro,  as  the  hands  and  arms  wave 
in  balancing  and  accommodating  the  body  to  the  supposed  motion  of 
the  horse.  Imagine  all  this  and  let  the  voice  ring  out  in  a  joyous,  ex- 
cited mood.  ,  Describe  the  horse  by  gesture  and  movement  as  going  to 
the  left  during  line  3,  and  bend  toward  and  seem  to  pat  him  as  you  say 
"listen,  my  Flip,  we  must  win  some  more."  With  head  and  torso 
turned  to  the  right  and  arms  thrown  upward,  and  voice  pealing  high 
in  excitement,  endeavor  to  picture  the  girl  as  she  jumps  through  the 
hoops.  Do  not  jump  and  overdo,  however;  always  suggest  things 
rather  than  make  any  attempt  to  actually  do  them. 

(3)  The  wild,  reckless  abandon  of  excitement  still  peals  in  the  voice 
and  is  pictured  in  the  gestures  through  the  first  four  lines.  Rippling, 
mocking  laughter  begins  line  3.  In  lines  5  and  (i  mood,  and  conse- 
quently voice,  changes  completely.  For  a  brief  interval  the  mask  of 
merry  bravado  is  dropped  and  the  voice  lowers  and  softens  as  gleams 
of  a  grave,  gentle,  sympathetic  womanhood  shine  forth. 

(4)  The  dasli  and  excitement  creep  in  once  more  during  line  1,  and 
still  more  in  line  2.  A  little  more  attention  after  the  supposed  stumble 
is  given  to  the  movement  of  the  horse  and  to  guiding  him  with  the 
voice,  in  lines  '.',  and  4.  In  lines  5  and  6  represent  the  horse  as  going  to 
the  left  and,  throwing  the  head  saucily,  look  back  over  the  right  shoul- 
der as  you  say  "away  with  a  one,  two,  three!11  By  looking  back  is 
meant  to  imagine  yourself  as  going  to  the  left  and  talking  to  some  one 
following,  some  one  a  little  to  the  right ;  then  when  ymi  look  back  over 
the  righl  shoulder  the  facial  expression,  laughingly  defiant,  is  fully  dis- 
closed t<»  1  he  audience. 

(5)  A  touch   of    Kentucky   dialect    finishes    the   latter   half   of   line    1. 

Lines  2  and  8  are  spoken  in  a  dazed  manner.    The  hand  wanders  over 

the  bead  and    forehead  for  action  work  in  line:;.      During  these  X  lines 

tin-  face  is  turned  to  the  left.  Line  4  requires  thai  yon  start  and  turn 
to  the  right  and  bring  out  the  words  quickly,  as  though  impelled  by 
some  intense  alarm.    On  the  words  " you  arc  hurt,  then,"  drop  to  the 

left  knee  ami  lean  ov.r  the  hero  as  you  finish  the  stanza  in  an  ago- 
nized, self  reproachful  manner. 


152  EMMA    DUNNING  BANKS'S 

Tenderness  and  sympathy  color  all  the  work  in  this  stanza,  and 
there  is  also  an  impassioned,  imploring  ring  ;is,  responsive  to  and 
mindful,  even  in  that  hour,  of  t  he  demands  of  both  wifely  and  womanly 
honor,  she  stops  the  declaration  of  love  from  the  lips  of  the  dying  man. 
The  liaiuls  tremble  with  rigid  intensity  during  the  appeal  in  lines  2, 
8,  and  I.  A  great  dread  and  fear  soleiuni/.e  the  voice  in  the  last  half  of 
line")-,  then  comes  an  expressive  pause;  then  with  sadder,  shuddering 
con\  iction,  bring  the  left  hand  to  the  breast  and  let  the  right  drop  de- 
spairingly as  you  say  "A-a-h !  He's  dead."  Rest  the  elbow  on  the  right 
knee  as  the  forehead  drops  on  the  right  hand,  after  saying  solemnly 
and  tenderly,  with  a  gentle,  mournful  pathos,  "  Ben  has  ridden  his  last 
round  with  Flibbertygibbet  and  me."  There  should  he  a  curtain  fall 
if  possible  at  the  close,  to  avoid  the  necessity  of  rising  to  the  feet  before 
the  audience.  If  it  is  not  possible,  rise  after  saying"ne's  dead,"  and 
finish  the  stanza  standing. 


TIT   FOR  TAT. 
i. 

i  i  /^  OOD-MORNIV.  Miss  Katie,"  said  young  Dickie  Fee; 

vJ     "  Grood-mornin1  agin,  'tis  yersilf,  shure,  I  see 
Lookin'  bloomin'  as  iver,"— but  Kate  turned  away 
As  she  pouted  ami  said.  "  I  >ick.   I've  no  time  to  stay. 
JTe're  a  heartless  desaiver — now.  don't  say  a  word, 
l'retty  stories  about  yon  an'  that  Norah  I've  heard. 
Xer  know  yer  danced  wid  her  that  day  at  the  fair, 
An'  praised  her  gray  eyes  an'  her  very  wd  hair; 
Yet  called  her  an  angel — said  in  love  ye  had  fell, 
An'  at  night  when  yer  parted — ye — kissed  her  as  well!" 

II. 

Then  young  Dickie  gave  a  sly  wink  as  he  said, 

* ' . J i — t  a  whisper,  dear  Katie,  turn  yer  swate  curly  head ; 

Whist  I   I  desaived  her.  me  darlint  !"     "  Ye  kissed  her !  "     "  That's  true, 

But,  ha!   bal    1  shut  both  me  eyes,  Katie,  an'  fancied 'twas  you." 

"  Well.  I've  no  time  to  stay,  so  good-by,  Dickie  Fee; 

fe  may  desaive  her,  but  ye  can't  desaive  me. 

I'm  not  to  be  blarneyed;    Dick,  a  word  in  yer  ear, 

Ye'd  betther  be  off.  for  my  dad's  coniin1  here." 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       153 

III. 

"  Oh,  yer  dad's  comin',  is  he?    Is  that  him  I  see 

Jist  a- bobbin'  behind  that  ould  buckthorn  tree? 

Why !  that's  Paddy  MeGinn !  "    "  Oh,"  said  Kate  with  a  sneer, 

"  Ye've  got  yer  eyes  open  at  last,  Dickie  dear ; 

Well,  he's  comin'  to  meet  me;  just  listen,  my  lad, 

If  Paddy  should  kiss  me,  ah!   shure  now  won't  ye  be  glad? 

For  when  his  lips  meet  mine,  why,  what  will  I  do 

But  shut  both  me  eyes,  Dickie,  and  fancy  'tis  you!" 


LESSON-TALK. 

(1)  Let  Dickie  lean  forward  somewhat  eagerly  and  admiringly  and 
speak  to  the  left.  Imperturbable  good-humor,  assurance,  and  flattery 
are  evidently  the  traits  with  which  he  expects  to  make  good  his  cause 
with  Katie.  Katie  in  answering  him  would  naturally  speak  to  the 
right.  She  deliberately  whirls  to  the  left,  however,  and  delivers  her 
sharp  speeches,  looking  scornfully  back  at  him  over  the  right  shoulder. 
In  the  pauses  represented  by  the  dashes  very  effective  work  is  done  by 
pouts,  defiant  little  nods  of  the  head,  and  a  petulant  tapping  of  one 
hand  against  the  other  and  of  the  foot  upon  the  floor.  This  work  is 
quite  prolonged  at  the  close  of  the  stanza.  You  must  really  feel  that 
you  ;ue  the  character,  and  as  an  aid  you  may  secretly  anathematize 
Dick  in  your  mind  during  the  pauses. 

(2)  Once  more  comes  Dick's  blarney.  Facial  expression  of  intense 
astonishment  precedes  Kate's  "you  kissed  her;1'  then  in  mellow,  laugh- 
ing ace.. nis  comes  Dick's  triumphant  explanation.  A  mocking  courtesy 
is  made  on  the  words  "ye  can't  desaive  me."  Straighten  up  on  the 
words  "  I'm  not  to  be  blarneyed  ;  "  1  hen  wit  li  one  or  two  light  steps  dart- 
to  the  right,  as  though  to  stay  Dick's  steps,  and  say  "  Dick,  a  word  in 
yer  ear."     Poinl  out  t  he  father  to  the  left  with  le  I  hand. 

C.\)  Let  Dick  shade  his  eyes  with  the  right  hand  and  bend  from  side 
to  side,  in  his  endeavor  to  recognize  the  fellow  who  is  dodging  behind 
the  tree.  His  fist  clinches  involuntarily  as  in  an  explosion  of  verified 
Indignant  suspicion  he  cries, "  Why !  that's  Paddy  McGinn  1"  Now  comes 
Kate's  moment  of  triumph,  and  with  her  mocking  merriment  she  makes 
the  most  of  it ;  nothing  could  be  more  coaxingly  aggravating  than  her. 

"ah,  shure  now  won't  ye  he  glad."     Throughout  the  pauses  and  words 

she  endeavors  to  -how  by  action,  facial  expression,  and  voice  the  most 
decided  taste  tor  the  at  tent  ion  of  Paddy  McGinn,  and  leaves  no  doubt 
tli.it  she  enjoys  her  little  play  of  "Tit  for  Tat." 


154  EMMA    DUNNING  BANKS'S 


A  QUART  OF  MILK, 
i. 

THERE  once  lived  in  the  famed  town  of  Hull 
A  rich,  deafened  old  lady  named  Midi; 
And  'tis  said  in  her  trumpet  of  tin 
That  some  children  once  peeped  and — fell  in. 
Hut  howe'er  that  might  be,  this  I  know, 
Twas  full  large,  for  she  ordered  it  so. 

II. 

Her  quaint  language  of  pure  Holland  Dutch 
Had  accented  her  English  so  much, 
That  sometimes  you  would  find  it  a  task 
Comprehending  the  questions  she'd  ask. 
She  would  scream  out  a  "  How  do  you  do?" 
And  then  level  her  trumpet  at  you. 

III. 

The  old  thing  was  so  large  and  so  queer, 

That  you'd  laugh  'stead  of  talk  in  her  ear. 

It  so  happened,  one  fine  summer's  day, 

A  new  milkman  was  passing  her  way; 

Right  quickly  she  ran  to  the  gate 

Crying:  "Here,  milky  man,  vait!  vaitl  vait!" 

IV. 

Now  the  milkman  was  young,  and  I  fear 

That  the  thoughts  of  a  maid  he  held  dear 

Had  possessed  him  with  dreams  strange  and  sweet, 

As  he  lazily  drove  down  the  street. 

Absent-minded,  he  paused  near  her  door, 

Only  half  heard  her  resonant  roar; 

V. 

Only  half  caught  the  gleam  of  the  tin, 
Afi  -he  raised,  with  a  clatter  and  din, 
That  ear-trumpet,  so  huge,  'ne.it  h  his  eyes. 
(Had  he  seen,  he'd  have  sure  shown  surprise.) 
'  Milky  man.'"  thus  she  cried.  "  come  more  near; 
Vat  you  scharge  milk  a  quart,  doan't  you  hear?" 
By  permiiisioii  of  Penn.  Pub.  Co.,  from  "  Choice  Dialect. " 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       155 

VI. 

Then  she  paused,  with  the  ear-trumpet  nigh 
To  quick  grumble,  should  price  prove  too  high. 
Hark!  a  gurgle — a  splash — as  the  can 
"Was  upraised;  and  the  milk?    Oh,  it  ran 
Full  a  quart  down  that  trumpet  of  tin, 
And  the  Dutch  that  poured  forth  was  a  sin. 

VII. 

"  Donner  Blixen!"  she  cried,  "ach!  mein  ear! 
Sehust  you  vait,  milky  man.'"    But  in  fear 
That  poor  milkman  had  sped  on  his  way, 
And  she  ne'er  saw  him  more  from  that  day; 
For  he  journeys  fall  three  miles  around 
Just  in  order  to  keep  safe  and  sound. 

Till. 
He  has  heard  of  the  deaf  woman's  boast 
That  her  fiendish  small  boy  on  a  post 
Daily  perches,  with  heart  full  of  ire, 
And  a  shotgun  all  ready  to  fire 
At  the  moment  that  man  should  appear, 
Who  that  "  quart  of  milk"  poured  in  her  ear. 


LESSON-TALK. 

A  bright,  vivacious,  conversational  manner  should  characterize  the 
rendering  of  this  selection.  For  hints  regarding  German  dialect,  the 
reader  is  referred  to  the  selection  in  <  J  en  nan  dialect  on  page  48  of  this 
book. 

(1)  To  point  the  town  of  Hull  is  allowable,  if  the  reader  wishes  to 
begin  gesture-work  at  once,  illustrate  the  peeping  referred  to  in  line 
1  by  slightly  shading  the  eyes  with  the  right  band,  and  glancing  down- 
ward to  the  right.  Pause  after  the  conjunction  "and,"  and  bring  the 
hand  downward  in  a  prone  gesture  a-  you  -ay  "Ml  in."  We  Use  the 
hand  supinely  when  we  disclose  or  Bhow  something ;  make  such  a  ges- 
ture, therefore,  on  the  phrase  "  this  I  know." 

Tin-  stanza  i-  -imply  conversational  in  style.  Do  not  forget, 
however,  that  facial  expression,  the  glance  of  the  eye,  sometimes  the 
mere  raising  of  theevebrow,  will  add  largely  to  the  life  and  force  and 
value  of  -peeeh.  Literally  BCreani  on l  the"  Jluw  do  you  do,"  and  mark 
the  accent. 


156  EMMA   DUNNING   BANKS'S 

(8)  In  line  l  Introduce  gestures  with  i><»th  hands,  to  represent  the 
size  of  the  trumpet.  Bring  out  line  2  in  a  light,  Laughing  manner. 
With  hand  raised  in  a  gesture  <>!'  attention,  to  attract  the  milk-vender's 
notice,  illustrate  her  crying,  "vaitl  vaitl  vaitl" 

(4,  5)  The  fourth  stanza  is  simply  descriptive,  as  is  also  the  greater 
part  of  the  fifth  stanza.  In  line  5  of  the  latter  stanza,  as  the  old  lady 
stops  the  milkman  by  gesture  and  cry,  raise  the  voice  in  a  shrill  fal- 
setto and  preserve  the  accent. 

(6)  Make  use  of  startled  attitudes  and  gestures  on  the  words  "  Hark! 
— a  gurgle — a  splash!  "  then  turn  and  point  to  the  upraised  can,  finish- 
ing the  stanza  with  merry  humor  and  emphasis. 

(7,  8)  Again  comes  the  shrill  falsetto,  as  the  old  lady,  clapping  her 
hands  to  her  ear,  fairly  screams  out  her  threats  to  the  man.  Make  ges- 
tures to  the  left  to  describe  the  milkman  as  he  speeds  "in  fear."  A 
curving  movement  from  the  right  to  the  left  will  describe  his  journey 
"  full  three  miles  around."  Finish  brightly,  conversationally,  and  em- 
phatically. 


FOR  THE  SLUMBER  ISLANDS,  HO ! 


A  LITTLE  song  for  bedtime 
When,  robed  in  gowns  of  white, 
All  sleepy  little  children 
Set  sail  across  the  night 
For  that  pleasant,  pleasant  country. 
Where  the  pretty  dream-flowers  blow, 
Twixt  the  sunset  and  the  sunrise, 

"  For  the  Slumber  Islands,  ho!" 

II. 

When  the  little  ones  get  drowsy, 
And  the  heavy  lids  droop  down 
To  hide  blue  eyes,   and  hlaek  eyes, 
Gray  eyes,  and  eyes  of  brown, 
A  thousand  boats  tor  Dreamland 
Are  waiting  in  a  row, 
And  the  ferryman  is  calling, 

"  For  the  Slumber  Islands,  hoi" 


ORIGINAL   RECITATIONS   AND   LESSON-TALKS.        157 

III. 
Then  the  sleepy  little  children 
Fill  the  boats  along  the  shore, 
And  go  sailing  off  to  Dreamland, 
While  the  dipping— of  the  oar- 
In  the  sea  of  sleep — makes  music 
That  the  children  only  know, 
When  they  listen  to  the  boatman's 

"  For  the  Slumber  Islands,  ho ! " 

IV. 

Oh,  take  a  kiss,  my  darlings, 

Ere  you  sail  away  from  me 

In  the  boat  of  dreams,  that's  waiting 

To  bear  you  o'er  the  sea. 

Oh,  take  a  kiss,  and  give  one, 

And  then — away — you  go — 

A-sailing — off — to  Dreamland, 

"  For  the  Slumber  Islands,  hoi " 


LESSON-TALK. 

In  its  refinement  and  sweetness  this  piece  is  a  gem,  and  is  specially 
suited  to  be  given  where  a  response  is  solicited  after  a  humorous  or  a 
dialect  selection.  The  prevailing  mood  which  colors  the  voice  is  one  of 
sympathetic  tenderness.  One  to  whom  the  sunny  faces  and  innocent 
hearts  of  little  children  are  a  never-failing  source  of  tenderness,  will 

strike  the  keynote  at  once. 

(1)  Curve  and  oncurve  the  hands,  while  describing  the  wee  toddlers 
in  their  clinging  robes  of  white.  Make  an  oblique  right-hand  gesture 
on  the  words "  set  sail  across  the  night."  A  subtle,  sympathetic  sway- 
ing of  the  body  forward  should  accompany  the  words.  ( )n  the  second 
repetition  Of  the  word  "  pleasant  "  let  the  emphasis  he  quite  strong.  A 
Blight  descending  and  ascending  movemenl  will  serve  to  alternately 
express  "sunsel  and  sunrise."  Let  the  ascending  gesture  merge  into  a 
movemenl  where  the  righl  arm  is  extended  horizontally  oblique,  and 
the  head  and  hand  held  as  If  listening  to  the  intoning  of  the  words 

'    Tor  tin-  SI  11  in  her  Islands,  ho'  "     A  dream v,  effusive  tone  characterizes 

the  prolonging  of  this  line,     it  is  very  effective  If  Intoned  as  follows. 


•  -#-  -*-  -m- 

Por     the  Slum -her     1        lands!  Ho  I     o-Oli,     o-Oh,     o-Oh. 


i  5S  EMMA    DUNNING   BANKS'S 

letting  the  syllable  "oh"  die  away  in  a  more  nmrmnr  of  sound.     The 
effect  is  dreamily  rhythmic  and  pleasing. 

(2)  By  stress  and  emphasis  make  the  word  "heavy"  picturesqu 
Wit'.,  the  forefinger  of  the  right  hand  eonnt  upon  the  left  the  "  blue 
eyes,  black  eyes,  gray  eyes  and  eyes  of  brown,"  letting  the  hands  sepa- 
rate widely  to  express  magnitude  on  the  word  "thousand."  The  left 
hand  will  then  fall  to  the  side,  while  the  right  continues  obliquely  for- 
ward in  an  imaginary  journey  toward  dreamland,  the  body  swaying  in 
the  same  direction.  Wave  the  hand  to  describe  the  row  of  boats,  then 
curve  hand.  arm.  and  body  Cor  the  listening  pose,  while  giving  the  call 
finishing  the  stanza. 

(3)  Turning  quickly  toward  the  imaginary  dreamland,  describe  by 
voice  and  gesture  "  the  sleepy  lit  tie  children  "  as  they  "  fill  the  boats  along 
the  shore."  While  the  arm  is  still  outstretched,  curve  the  hand  in- 
ward, then  let  it  seem  to  float  out  on  the  words  "sailing  off  to  Dream- 
land." A ^a in  seem  to  listen,  and.  while  using  the  fairy  oars  wherever 
tin-  dashes  occur,  time  the  voice  in  a  rhythmic,  musical  intonation  illus- 
trative of  the  murmuring,  rippling  waters  of  the  "sea  of  sleep."  Fin- 
ish as  in  preceding  stanzas. 

(4)  After  the  word  "oh,"  commencing  this  stanza,  throw  to  an  im- 
aginary little  one  an  imaginary  kiss.  Let  the  hand  wave  out  as  you 
say 'the  boat  of  dreams."  In  line  5  again  waft  a  kiss  and  seem  to 
catch  one.  Obedient  to  the  dreamy,  musical  rhythm  of  the  words, 
sway  forward  obliquely  in  a  subtle,  harmonious  manner,  letting  hands 
and  arms  float  out  on  the  words  "  away  you  go."  Do  this  as  though 
impelled  by  an  uncontrollable  sympathy  of  impulse.  Alternate  this 
work  by  swaying  backward  on  the  words  "a-sailing,"  then  forward  on 
the  word  "off,"  and  then  backward  on  the  words  "to  Dreamland." 
finish  by  letting  the  right  hand  come  forward,  and  glancing  and  lis- 
tening  from  side  to  side  as  the  musical  call  of  "  For  the  Slumber  Islands, 
ho-o-oh — oh!"  dies  away  in  the  distance.  Put  as  many  "ohs"in  as 
seem  musically  appropriate. 


PAT  AND  THE  YANKEE. 

AS  Pat,  an  odd  joker,  with  a  Yankee  more  sly, 
\\'a<  riding  one  morn,  both  ;>  gallows  did  spy. 
Said  the  Yankee  to  Pat  :  "  li  I  don't  make  too  free, 
Give  that  gallows  its  due.  pray,  where  would  you  be?" 
By  me  troth,  now."  says    Pat,  "  faith,  that's  easily  shown, 
I'd  be  rid  in'  to  town  l>v  mi  si  if  all  alone!" 


ORIGINAL   RECITATIONS  AND   LESSON-TALKS.        159 


ST.   VALENTINES  AND  ST.    PATRICK'S  DAY. 

A  VALENTINE   ROMANCE. 
Scene  I.— At  the  Stationer's. 

I. 

LIMNED  upon  a  square  of  satin,  tinted  with  artistic  care, 
Poised  in  airy,  swaying  motion,  danced  a  little  maiden  fair. 
Gayly,  with  elusive  mischief,  waved  her  tiny,  snowfiake  hand 
■Ju.-t  beyond  a  love-god  reaching,  with  his  rose-tipped,  golden  wand. 

II. 
Underneath,  some  shining  letters  glinted  forth  in  verses  free. 
Singing,  in  their  graceful  rhythm,  of  a  country  o'er  the  sea. 
'•  Such  a  dainty,  winsome  fancy,"  said  the  clerk,  "  is  sure  to  sell. 
Ah,  I  sadly  fear  the  artist  needs  the  money  passing  well." 

III. 
"  Could  vim  give  me  her  address,  sir?"  said  the  customer.     "  You  see — 
Well — in  short — I—  -think — I — know  her;  is  she  wedded,  sir,  or  free? 
Single]  blessyou!"  said  the  stranger.     "No,  I  thank  you,  that  is  all; 
Good  by;  yes.  I'll  come  again,  sir,  tell  you  more  when  next  I  call." 

Scene  II.— Stranger's  Room. 

IV. 
Quick  the  door  is  thrown  wide  open,  quickly  closed  ;  the  gaslight  streams 
o'er  the  st ranger  drifting  idly  on  a  flood-tide  of  old  dreams. 
For  that  Bquare  of  t  in  ted  satin,  with  its  golden  rhythmic  lines, 
Broughl  to  mind  a  youth  and  maiden  pledged  of  yore  as  valentines. 

V. 

Par  off  in  tin' old,  old  country,  in  fair  Ireland's  emerald  isle. 

All  entranced  lie  lives  it  over,  yields  him  to  the  spell  with  smile. 

«  mce  more    neat  h    her  latticed  casements  plays  the  I'k  Idler  in  the  st  net, 

Gay"St.  Patrick's  Day  "comes  floating  through  the  window — lilting, 

SWIrl  . 

VI. 
Once  more  pleads  he  as  a  wooer  on  t  he  eve  of  Valentine, 

Pleads  and  prays  this  shy,  sweet  maiden  would  unto  his  suit  incline. 


i6o 


KM  MA    DUNNING  BANKS'S 


With  the  melody  upstarts  she,  whirls  with  graceful,  flying  feet, 
Swaying,  dancing,  times  her  answer  to  the  music's  rhythmic  beat: 


[Play  music  through  once  and  then  repeat  the  tirststraiu.      Intone  three  jsianz.as  to  the 
music] 

VII. 

'  Oh,  I'll  be  your  valentine,  Til  be  your  valentine, 
I'll  be  your  valentine,  ^ive  you  my  hand; 
Love  words  I'll  siii";  to  yon,  happiness  bring  to  you, 
Happiness  greater  than  houses  or  land. 

VIII. 
"  lmt  first  J  on  must  woo  to  me,  then  you  must  sue  to  me, 
Ciift  me  with  violets,  roses  most  rare, 
Make  me  believe  in  you,  ere  I  receive  in  you 
» me  who,  as  valentine,  must  my  life  share. 

IX. 
"Then  I'll  be  your  valentine,  I'll  be  your  valentine, 
I'll  be  your  valentine,  give  you  my  hand; 
Love  words  I'll  sing  to  you,  happiness  bring  to  you, 
When  I,  as  valentine,  yield  you  my  hand." 

(Music  stops-] 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       161 

Scexe  III. — Her  Room. 

X. 

Rat-tat-tat!  "Well!  come  in,  Bridget,  what  is  it  you  wish  to  know?" 
"  Ef  yez  plaze,  Miss,  there's  a  gintleman  waithin'  fer  yez  down  below.1' 
"What's  the  name?    You  don't  know?    Well,  then,  show  him  up.     I 

wonder  who 

There!  my  violin  has  fallen Larry!  is  it — really — you?" 

XI. 

"  Really  me?    Sure,  yes,  mavourneen,  'tis  your  Larry,  Nora,  mine. 
See,  this  bit  of  satin  brought  me  back  to  be  your  valentine. 
Wilt  thou  have  me?  Still  so  shy,  love?  Then  your  answer  you  may  sing 
While  this  violin's  sweet  music  once  more  makes  '  St.  Patrick'  ring." 

[Play  music] 

XII. 

"  Oh,  I'll  be  your  valentine,  I'll  be  your  valentine, 
I'll  be  your  valentine,  give  you  my  hand ; 
Gladly  I'll  sing  to  you,  try,  love,  to  bring  to  you 
Happiness  greater  than  houses  or  land. 

XIII. 

"  Well  have  you  wooed  to  me,  well  have  you  sued  to  me, 
Faithfulness  shown  me,  exceedingly  rare; 
Made  me  believe  in  you,  so  I'll  receive  in  you 
< >ne  who,  as  valentine,  must  my  life  share. 

XIV. 
'  So  I'll  be  your  valentine,  I'll  be  your  valentine, 
I'll  be  your  valentine,  give  you  my  hand; 
Love  words  I'll  sintf  to  you,  sweet  kisses  bring  to  you, 
When  I,  as  valentine,  yield  you  my  hand!" 


LESSON  TALK. 

Introduce  this  selection  with  the  words  "Scene  I.— At  the  stationer's." 
(l)  This  stanza  being,  for  the  greater  part,  descriptive,  will  require 
but  little  [n  the  way  of  action-work.  The  voice  employed  should  be 
that  of  the  simple  pure,  and  the  tone-coloring  expressive  of  admiration 
and  animation.  " The  speaker's  position,"  with  weighl  on  the  left  foot 
;ui'l  the  righl  foot  forward,  will  serve  for  line  I.  In  line  '-',  however, 
11 


I$2  EMMA   DUNNING  BANKS'S 

there  is  a  suggestion  of  a  subtle  staying  of  the  whole  torso  in  sympathy 

with  t  lir  sentiment  expressed.  In  the  same  manner,  on  the  appropriate 
words  in  line  8,  slight  waves  of  the  hand  are  allowable,  finishing  with 
a  little  movement  from  the  wrisr  outward,  on  the  words  "just  beyond." 
•j  In  line  2  let  the  word  "  ^i i l^ciiif^- "'  ring  Out,  and  all  the  words,  in 
like  fashion,  linger  harmoniously  on  the  air.  Make  a  right-hand  gest- 
ure to  designate  the  "  country  o'er  the  sea."  A  masculine  quality  of 
voice  should  enter  into  the  impersonation  of  the  clerk. 

(3)  To  impersonate  the  stranger  and  make  the  characterization  dis 
tinct  from  that  of  the  clerk,  a  still  deeper  quality  of  voice  should  be  as- 
sumed. Embarrassment  and  indecision  should  till  in  the  pauses  repre- 
sented by  the  dashes,  then  with  sudden  determination  utter  line  2. 
The  clerk  speaks  to  the  left,  the  stranger  to  the  right.  The  words 
•  Single!  bless  you"  spring  forth  with  impulsive,  hearty  gladness,  and 
a  strong  tinge  of  this  buoyancy  colors  the  remainder  of  the  stanza. 

(4)  Preface  this  stanza  by  the  words  "  Scene  II.-*Stranger's  Room." 
To  enliven  line  1  make  a  quick  movement  illustrative  of  throwing  open 
a  door.  Firsl  an  ascending,  then  a  descending  right-hand  gesture  will 
depict  the  streaming  gaslight;  then  merge  tins  gesture  into  a  floating, 
waving  movement  of  the  hand  on  the  word  "  drifting,"  finishing  with 
a  slight  backward  wave  on  the  words  "old  dreams."  In  an  explana- 
tory manner,  trace  imaginary  lines  on  the  left  palm  with  the  index- 
finger  ol  the  right  hand,  during  line  3. 

5  On  the  words '"old,  old  country "  comes  once  more  a  right-hand 
backward  gesture,  which  is  held  for  the  purpose  of  repetition  on  the 
words"  fair  Ireland's  emerald  isle."  The  imaginary  vision  of  the  fiddler 
'neath  the  casement  maybe  designated  by  a  descending  gesture.  A 
listening  attitude  predominates  during  the  greater  part  of  the  last  line. 

An  impassioned  pleading  throbs  through  the  first  two  lines,  and 
should  be  made  manifest  in  voice,  facial  expression,  and  gesture.  The 
word-  "pleadsand  prays"  in  line  2  demand  special  emphasis.  With  a 
subtle  flame  Of  feeling,  the  whole  tors6  becomes  animated  and  gracefully 
active  in  an  endeavor  to  lend  itself  sympathetically  to  the  sentiment  of 
the  last  two  lines  of  this  stanza.  The  words  should  spring  lightly  forth 
and  gracefully  leave  the  lips.  A  tone-picture  in  itself  may  be  made 
of  the  word  "  whirls,"  in  line  3;  so,  likewise,  with  the  words  "swaying" 
and  •dancing."  There  is  a  dancing  element,  so  to  speak,  alternately 
swaying  and  tripping  through  the  voice.  The  seventh,  eighth,  and 
ninth  stanzas  are  to  be  intoned  while  the  music  of  "  St.  Patrick's  Day" 
i-   being  played  on  the  violin  or  piano,  as  may  be  preferred. 

With  graceful,  swaying  movements  of  torso  and  hands  in  harmo- 
nious  balance,  dance  lightly  forward  from  side  to  side  during  the  into- 
nation of  line  l.     On  the  words  "give  you  my  hand,"  extend  the  right 


ORIGINAL  RECITATIONS  AND  LESSON-TALKS.       163 

hand.     Both  hands  come  forward  during  line  2,  and  separate  somewhat 
widely  on  the  words  "  greater  than  houses  or  land." 

(8)  With  the  beginning  of  this  stanza  dance  backward,  making  an 
archly  repellent  gesture  with  both  hands  vertical  on  the  words  "  but 
just,"  turning  them  quickly  and  extending  them  supinely  on  the  words 
"  woo  to  me."  Repeat  the  vertical  repellent  action  on  "  then,"  clasping 
the  hands  with  mocking,  imploring  intensity  as  you  say,  "  you  must  sue 
to  me."  Extend  the  hand  supinely  during  last  half  of  line  1.  Shake 
the  forefinger  knowingly  as  you  say  "ere  I  receive  in  you,"  and  finish 
the  dancing  movement  with  a  little  saucy  courtesy. 

(9)  The  action-work  is  similar  to  that  of  the  seventh  stanza.  Pause 
after  the  music  and  say  "  Scene  III. — Her  Room." 

(10)  A  little  tapping  of  the  right  hand  with  the  left  may  begin  this 
stanza.  The  voice  employed  for  the  lady  should  be  sweet,  pure,  and 
full.  She  should  speak  to  the  left.  Use  a  rich  Irish  brogue  when  im- 
personating Bridget,  and  speak  to  the  right.  Interrupt  the  words  "  I 
wonder  who"  quickly,  as  though  startled  by  the  sound  of  the  falling 
violin,  then  say  line  4.  Astonishment  colors  the  exclamatory  emphasis 
of  the  word  "  Larry!"  Dawning  recognition  is  evinced  in  the  next  two 
words,  and  a  delighted  certainty  in  the  final  "really  you?" 

(11)  Use  a  deep,  rich  voice  for  Larry,  and  speak  to  the  right  with 
outstretched  hands.  In  line  2  a  gesture  as  of  taking  the  bit  of  satin 
from  the  pocket  and  showing  it,  may  be  made  if  desired.  Pleading 
gestures  and  emphasis  characterize  line  3.  A  gesture  as  of  drawing 
the  bow  over  the  strings  of  an  imaginary  violin  may  conclude  the  stanza. 

(12,  l:?,  14)  With  the  repetition  Of  the  music  of  "St.  Patrick's  Day" 
comes  once  more  the  swaying,  dancing  abandon  of  the  torso.  The  hints 
given  for  stanzas  7,  8,  '■>  can  be  used  for  these  stanzas  also,  as  the  work 
is  in  the  same  vein,  with  this  exception,  that  there  is  in  this  latter  work 
no  coquettish  attempt  at  repelling  the  old-time  lover  and  faithful  val- 
entine. 


"^^MM[ 


4_JJ3B»^» 


164  EMMA    DUNNING  BANKS'S 


JACK'S  VALENTINE. 


TO  the  men,  young  or  old,  this  advice  will  prove  true, 
If  you'd  win  a  maid's  love,  with  sweet  words  you  must  sue; 
Should  the  maid  be  worth  winning  she  ne'er  will  think  twice 
Of  position  or  gold — please  remember  advice. 
Four  men  came  as  suitors  for  one  fair,  sweet  maid. 
The  first  was  a  minister,  prim,  grave  and  staid; 
The  second  a  banker;   the  third  Jack,  his  clerk; 
While  the  fourth  was  a  clubman  who  looked  like  a  Turk. 
Each  man  was  determined  St.  Valentine's  day 
Should  bring  him  an  answer,  plain  "yea"  or  plain  "nay." 
So  each  sent  a  valentine  such  as  he  thought 
"Would  bring  him  full  surely  the  answer  he  sought. 

II. 

The  banker  sent  diamonds — diamonds  galore; 

His  liveried  footman  bowed  low  at  her  door. 

From  clubman  a  horse.     Such  a  pure  thoroughbred  1 

A  jet-black  Arabian — arched  neck  and  proud  head  I 

The  clergyman  posted  a  discourse  profound 

On  "  Wives  and  Their  Duties;  "    he  felt  sure  'twas  bound 

Her  favor  to  win.     Lastly,  Jack,  the  poor  clerk, 

A  few  minutes  6tole  from  his  figures  and  work, 

III. 
To  pen  her  a  missive,  not  learned  nor  long, 
But  so  full  of  his  love,  that  it  read  like  a  song, — 
A  song  from  his  heart;  yet  Jack  felt  very  blue, 
For  nothing  he  wrote  seemed  original  or  new. 
The  crescent  of  gold,  called  the  moon,  peeped  and  bowed, 
As  she  played  hide-and-seek  with  a  blue,  dusky  cloud. 
Bright  glances  she  cast,  as  the  clerk  with  his  song 
To  the  home  of  his  lady-love  wended  along. 

IV. 
Jack  twisted  the  valentine  up  like  a  dart, 
Then  thrust  it  right  into  a  crimson  rose  heart. 


ORIGINAL   RECITATIONS  AND    LESSON-TALKS.        165 

Ere  he  sent  it  he  wrote,  "  I  will  wait  here  below, 

If  it's  'yes'  come  yourself,  sweet,  but  don't  if  it's  'no'." 

The  maid  read  the  letters,  each  one  in  its  turn. 

The  pompous  old  banker's  helped  make  the  fire  burn; 

As  the  flames  leaped  and  danced,  she  laughed,  "  Diamonds,  forsooth! 

Does  he  think  to  thus  easily  buy  love  and  youth?" 

V. 

She  dearly  loved  horses — the  clubman  was  gay — 
He  promised  to  pet  her  and  give  her  her  way; 
He  pictured  a  life  full  of  rollicking  mirth, 
And  everything  money  could  buy  her  on  earth. 
She  took  up  the  parson's,  just  stifled  a  gape, 
Before  she  had  finished  was  taking  a  nap. 
'Twere  worth  a  bold  venture,  for  just  one  wee  peep, 
The  picture  she  made,  as  she  lay  there  asleep. 

VI. 

Purple  velvet  the  chair,  and  her  curling  gold  hair 

In  waves  like  bright  sunshine  gleamed  forth  from  it  there; 

On  the  rose  of  her  cheek  the  long  lashes  lay  low, 

While  her  arm  made  a  pillow  that  vied  with  the  snow. 

The  fireflames  gleamed  strangely,  electrical,  warm — 

The  glowing  coals  shivered;    from  out  them  a  form 

Evolved  itself  slowly — a  round,  rosy  elf, 

With  wings,  bow,  and  quiver — Dan  Cupid's  own  selfl 

VII. 

Right  quickly  he  wakened  her  pet  bobolink, 
Opened  the  cage,  and  whispered  a  message,  I  think; 
Such  a  wild  bursl  of  music  that  wee  quivering  throat 
Trilled  liquidly  forth,  golden  note  after  note. 

Cher-wee  t-a-chee-chee!     Cher-a-weet-a-chee-chee ! 
, Cher-a-weet,  read  .lack's  letter,  cher-a-weet,  wake  and  Reel" 
Cupid  vanished,  the  1  > i r«  1  flew  and  perched  on  her  chair, 
Then  woke  her,  by  pulling  gold  threads  from  her  hair. 

\  III. 
The  roses  blushed  deeper,  the  maid  drew  the  dart, 

Untwisted  and  read:  "To  the  Love  of  my  Heart." 

'Twas  the  clerk's  little  love-song.     The  bird  sang  out:    "Sweet! 

I  can  read,  '  Sweet  !  BWeet  I  sweet  !    I  Nearest  lovel   Sweet!  sweet  I  sweet!'  " 


l66  EMMA    DUNNING   BANKS'S 

Now,  Jack  must  have  studied  the  Language  of  birds, 
For  surely  his  love-song  seemed  full  of  pet  words. 
'Twas  the  oil  old  story    sweet  words  won  the  game, 
'Gainst  diamonds  and  horses  and  parsons  so  tame. 

IX. 

The  maid  flew  downstairs,  with  her  "yes"  to  Jack's  note. 

Discouraged  he'd  started  to  put  on  his  coat, 

When  she  murmured,  this  maiden  his  heart  longed  to  win, 

"Jack,  button  your  coat,  but  my  heart  fasten  in." 

"  Sweetheart,  is  it  you? "     "Yes,  dear  Jack,  I  am  thine, 

If  you  promise  to  love  me  as  your  valentine." 

He  emphatically  emphasized  "this"  with  a  kiss, 

As  he  said,  "  Yes,  I  promise,  by  this — and  by  this." 


LESSON-TALK. 

With  exception  of  bird-tones,  which  may  be  omitted,  "Jack's  Valentine" 
presents  few  difficulties  to  the  average  platform  entertainer.  The  selection 
is  modern  and  up  to  date,  with  perhaps  one  fanciful  touch,  which  strives 
to  teach  an  old-fashioned  truth,  viz.,  "Love  will  win  the  day."  By  the 
Lesson-Talk  nothing  arbitrary  is  intended.  If  other  conceptions  or  other 
gestures  commend  themselves,  let  the  reciter  be  governed  accordingly. 
Lesson-talks  are  simply  hints  for  those  who  feel  their  need. 

Speaker's  Position  is  one  foot  forward,  with  weight  resting  easily  on 
rear  foot.  Rear  foot,  on  which  rests  weight,  should  generally  be  right-  fool, 
because  we  naturally  gesticulate  more  with  forward  movements  of  right 
arm  than  with  left  arm;  by  having  right  foot  back  during  these  move- 
ments, opposition  of  agents  is  maintained,  and  in  that  consists  variety  and 
a  means  of  grace. 

Assuming  Speaker'-  Position,  begin  selection  in  low,  easy,  conversational 
tone,  vet  with  voice  pitched  so  as  to  reach  every  part  of  auditorium.  Edwin 
Booth's  advice  i-:    "  Speak  low,  but  speak  to  the  gods  in  the  gallery." 

(]  |  No  gestun  .  Bave  with  head,  as  you  say  first  three  lines.  As  eye 
wanders,  when  addressing  audience,  head  should  move  easily,  at  times,  to 
rifdit  and  then  left.  Avoid  stiffness  and  formality  of  neck.  A  little  con- 
versational   movement    of   attention    is    rendered    emphatic   by    right    indcx- 

i  on  "Please  remember  advice."     Slight,  dainty  gestures  of  enumera- 
tion may  serve   to  add   interest    and    hold   attention,   while  counting  suitors. 

i       _'  righl  index-finger,  give  forefinger  of  left  hand  a  Light,  springy  touch, 

~.s  you  say,  "The  first  was  a  minister."     Strike  second  finger  of  left  hand 


ORIGINAL   RECITATIONS  AND    LESSON-TALKS.        \6j 

while  saying,  "The  second  a  banker."  After  touching  third  finger,  when 
explaining  who  Jack  is,  make  gesture  of  disclosure,  by  letting  hands  move 
ever  so  slightly  apart,  showing  pakws  a  little.  On  little  finger  comes  fourth 
enumeration  of  clubman;  then  hands  may  separate,  falling  easily  at  side, 
or  clasping  loosely  in  front. 

(2)  Nearly  everyone  admires  diamonds;  therefore,  when  you  think  and 
speak  of  the  bright  jewels,  let  tone  be  bright  and  full  of  admiration.  Sex 
and  temperament  of  reciter  must  determine  whether  or  not  a  gesture  would 
come  naturally  here.  An  impulsive,  facile  woman,  full  of  flexibility  of 
mood,  might  start,  with  the  arm.  a  quick,  flashing  movement,  ending  in 
vibratory  tremor  of  fingers,  as  she  thought  of  "diamonds  galore."  Let 
action  suit  thought  and  words,  to  a  certain  degree,  in  line  second,  keeping 
moderation  always  in  view.  If  you  have  enough  sporting  blood  to  inspire 
a  genuine  love  of  horses,  call  it  into  service  and  let  it  ring  through  voice 
during  lines  third  and  fourth.  While  speaking  of  "clergyman,"  round 
voice  into  mocking,  dignified  solemnity.  On  "Wives  and  Their  Duties," 
make  burlesque  gesture  of  exaltation,  raising  arm  very  high  on  climax- 
word,  "duties." 

(3)  I  want  you  to  love  Jack;  or,  at  all  events,  to  be  in  full  sympathy 
with  him,  and  let  that  love  and  sympathy  permeate  your  voice,  softening 
and  deepening  it.  and  making  it  exquisitely  tender  in  this  stanza. 

(4)  A  little  twisting,  ascending  movement  of  right  hand,  as  though 
twisting  the  note,  as  you  say  line  first,  then  let  hand  descend  rapidly  and 
diagonally  to  left  in  thrusting  motion,  as  you  say,  "thrust  it  right  into." 
Tips  of  two  index-fingers  may  come  together,  and  with  light,  swift  touch, 
draw  in  air  two  imaginary  halves  of  Jack's  floral  heart,  finishing  at  point, 
as  you  say,  "crimson  rose  heart."  You  can  just  daintily  and  lighter  sug- 
gest  an  imaginary  note,  for  lines  third  and  fourth,  by  using  palm  of  left 
hand  and  righl  index-finger.  Laugh  merrily  and  scornfully  before  saying, 
"Diamonds,  forsooth." 

(5)  Frequent  meditative  pauses  lend  character  to  first  four  lines,  as 
though  clubman's  offer  was  sufficiently  alluring  to  demand  consideration. 
After  "parson's,"  pause  and  introduce  a  gape,  which  should  express  and 
be  equivalent  to  some  such  phrase  as,  "did  like  this;"  then  the  words, 
'•stilled   a   Lr:ipe."   will   I  "'  e  \  plana  t  ory. 

(6)  By    words    and    attitude    picture    sleeping   beauty   to    right,    fire   and 

evolving  Cupid  to  left.     Liveliest  admiration  and  interest  should  give  tone- 

color  to  the  words. 

(7)  The  lines  denoting  bird-tonei    may  l>e  omitted,  if  desired.     Do  not, 

if   able    l<>    give   them,    lie   confined    to    the   printed    words,   but    add    to    them 

freely  and  spontaneously,  as  birds  might  do.     Ever  bear  in  mind  the  im- 

po  ibility  of  pitching  the  tone  too  high  lor  bird-notes.  Think  of  a  bird's 
tiny   bill   and   make   tone  as  small   and    fine   as    possible.       By    "small  and 


168  EMMA    DUNNING   BANKS'S   ORIGINAL   RECITATIONS. 

One"  is  not  meant  soft  or  feeble.  Remember  t<>  give  variety  of  pitch  and 
loudness  and  Boftness  of  tone,  Remember  also  thai  birds  have  moods  as 
will  as  people;   BO  endeavor  by  tone  and  by  manner  to  depict  various  moods 

(8)  Repeat  gestures  of  untwisting  and  reading  note.  At  the  superfluity 
of  love-words,  break  into  indulgent  laugh  as  you  say  line  fifth. 

(9)  The  maid  speaks  to  the  right,  her  words  coming  out  shyly  and  halt- 
ingly. Use  deep  tender  voice  for  Jack,  making  osculatory  sound  on  his 
first  "this,"  repeating  it  on  the  second,  or,  if  you  prefer,  finish  by  wafting 
a  kiss  to  your  audience,  as  you  bow  and  retire,  let  us  hope,  "  'mid  a  storm 
of  applause." 


UNIVERSITY  OF  CALIFORNIA  AT  LOS  ANGELES 

THE  UNIVERSITY  LIBRARY 

This  book  is  DUE  on  the  last  date  stamped  below 


tt  *4  194$ 

FEB  22  W5 

AUG  14  1947 

OCT  2*>  «• 
'      BEffD  LO-Ufil 

w 

URL 


JUN  1  9  197,  i 


JUN3  01975 


